Off the Record...

The Age of Apocalypse story has been a fan-favorite for years. Now, an unbelievable ten years later, the alternate reality with "lots of heroics, death, destruction and mayhem" has made a roaring return. Chris Bachalo, the man behind the stunning imagery in the sequel, has just finished putting the final touches on the weekly mini-series and takes a much-deserved moment to catch his breath. We chatted with Chris about AOA, his evolving artistic style over the last fifteen years, and why he compares designing characters to that of his love of onions (or, lack there of)...

CBEtc: How's life treating you these days?

BACHALO: I'm doing well. Recovering from AOA (X-Men: Age of Apocalypse) and nursing an Appletini while I look forward to a new episode of 24. Proof of God if you ask me.

CBEtc: It's pronounced Ba-Chall-o. What are some of the stranger ways people have said your name?

BACHALO: Um, mostly, I get Bakalo or Backalo. I like to hear the Europeans pronounce it. It sounds something like Ba-shall-o. Kind of exotic, really, especially with a French or Italian accent thrown in. I often get asked if it's of Italian origin when, in fact, its Ukrainian, kind of, as it's been sliced and diced a few times in order to make it sound less, well, Ukrainian.

CBEtc: When we last spoke, you were penciling Captain America and were excited, but very secretive, about your upcoming project. Well, X-Men: Age of Apocalypse is finally here. Talk about how you were involved with bringing this huge event back after 10 years.

BACHALO: It went like this: CB Cebulski and Mike Marts emailed me about the project and I said okay. End of story. Kind of a no brainer, really. The original series was amazing so I knew a retro-anniversary mini would fly, not to mention that it was a cool series worthy of another visit and features the X-Men, the coolest team on the planet.

CBEtc: One of the consistent requests retailers get is for back issues or trade paperback collections of the original Age of Apocalypse storyline. Why do you think this story has been so popular for the last decade?

BACHALO: Hmm. Hard to say. I thought that it was unique and bold experiment that fueled a lot of imaginations. I don't know if it was really good or not, only that it was intriguing and, most of all, fun. I think the real hook was the renumbering and renaming of the titles. That was really cool because you didn't know what you were going to get. It inspired a lot people and became a hit.

CBEtc: What can you tell fans who might not have read the original story about AOA (Age of Apocalypse)?

BACHALO: Mostly, that it was a massive cross over event involving the X-Men universe that featured alternate realities, lots of heroics, death, destruction and mayhem. I think that the real event was that Marvel stopped many of their their flagship titles for four months and replaced them with the AOA titles. Just Imagine, Uncanny X-men, the biggest selling book in comics, was missing from the store shelves for four months.

CBEtc: It was a big deal, I remember. The title you were working on at the time, Generation X, became Generation Next, and so on. Did Marvel not want to do that this time around?

BACHALO: I'm unaware of the process that was involved with the decision to publish AOA as a mini rather than a multi book crossover. My best guess is that they simply wanted to honor the event with the limited series and use it as a starting point to (collect into a trade paperback) the original crossover. The idea of duplicating the scale of the original event would probably be overkill. One massive AOA crossover in a life time is enough, if you know what I mean. [Laughs]

CBEtc: This time around, there is the X-Men: Age of Apocalypse One Shot and X-Men: Age of Apocalypse #1-6 mini-series, with a brief two issue crossover in Exiles. Do you recommend fans reading the One Shot before reading the mini-series to get caught up on what has happened the last 10 years in the AOA universe?

BACHALO: I believe the one shot is, like, the appetizer for the limited series. Read that first... if you haven't already.

CBEtc: In the "121 Reasons 2005 Will Rock" article published in Wizard #160, AOA was listed as #27, jammed together with other "Anniversary Mania" series. Do you feel they underestimated how big AOA will be?

BACHALO: I didn't read the piece, but I would guess that, yes, they underestimated how well the series will be received. At least, I hope they did, for my own selfish reasons. I don't expect to sell 400,000 copies like the fat days but, as an anniversary project, if we're able to crack the top ten in a few spots, we'd all be happy.

CBEtc: Have you had a chance to show sneak peaks of your AOA work to fans at conventions, etc.? If so, what has been the reaction so far?

BACHALO: Whew! Haven't been to a show in years, except for one a couple years back. So, needless to say, I haven't had an opportunity to show the work in that arena. I'm pretty tight fisted with my work anyway, so, chances are I wouldn't have shown it around. My philosophy is to put the work out there when it's done, hype it a little with ad space and hope the readers respond positively to the work. If I were to show the work and received a poor response we couldn't do anything about it anyway.

The idea is to put together a good script, add a good crew and hope the resulting material is something retailers and readers want to spend money on. Also, if I were to show the work and it received a lukewarm response, I think I'd just assume anesthetize myself knowing that it was going to be a dog. Better not to know and proceed forward with the idea that its going to do well.

One of the interesting aspects of the comic industry is that, in my position, when you sign on that your never sure what your going to get. Unlike a movie when, in most instances you've a completed script to evaluate and work from. In comics you may have, maybe, one script and an outline. The rest is pretty much based on the writers rep to produce good work. I've been lucky with certain causes and not so lucky with others.

CBEtc: What's your next project after AOA?

BACHALO: I've a mixed bag at the moment. I've signed on to do six issues of JLA, Upper Deck Playing cards, several covers and and issue of Witch Blade (number 87), pencils and colors. I'm in talks with Marvel for a new project or two. I really enjoy working with them and hope to continue doing so. I've also submitted a proposal for another series that's under consideration. I've longed to write for some time and hope that my idea finds a friend or two.

CBEtc: We've had many fans want us to ask you if there is any hope of you bringing back Generation X? Maybe a one-shot or mini-series with co-creator Scott Lobdell?

BACHALO: I wouldn't rule it out completely, but at this time there are no plans for Gen X.

CBEtc: Looking over your 15 year career, you've done a little bit of almost everything. Most of your runs are 4 to 6 issues long. Do you get burned out on being on one title for so long and prefer shorter stories? Or, is it more of a workload issue?

BACHALO: Oh, Man. I don't enjoy short series. No kidding. Its funny, because I started out my career with two long commitments (Shade and Gen X , 4 and 3 years, respectively) but have found myself working on one short series after another, maybe six or seven at this point. One of my goals at the moment, besides writing a series, is to find myself back on a monthly.

I enjoy a monthly because it gives me an opportunity to become comfortable with the characters and the writer which, for me, breeds confidence and better work. With short series, by the time I get comfortable, the party is over. Its frustrating. When Morrison was writing New X-Men and they were going to publish 18 issues a year, I was pegged to draw that title along with (Phil) Jimenez. We know what happened with that creative team. Hopefully, I'll find myself with a cool monthly soon.

CBEtc: You seem to do a lot of covers. Do you prefer them over the grind of a regular series?

BACHALO: Gawd. [Laughs] Not really. Interior work is much easier. But, I like to diversify. So, I try this and that. A couple of years ago, I made a conscious decision to take on a lot of covers. I think I ended up with, something like, 26 covers that year. I do like cover work when the covers turn out nice. I want to take razor blades to myself when they don't. Horrible experience.

CBEtc: Steampunk, your co-creation with writer Joe Kelly, has been described as a series of "intense storytelling and confusing plot twists with an ultimate payoff." Do you feel you accomplished what you set out to do with this series?

BACHALO: Yes and no. No because the story is about two-thirds of the way done. That wasn't "The End" in issue 12. There's more. Really good stuff more.

I think we bombed out with the readers with our complex style on the book. We started out great with sales and, like sand through an hour glass, slowly slipped into mediocrity. I take the blame for most of it. My drawing pace was way too slow and we were skipping months a at time between issues. That spells disaster for most titles. I probably experimented a little too much with design and Joe and I should've maybe told the story without the flashbacks. Despite this, it's the work I'm most proud of.

CBEtc: Do you enjoy sketching a character, trying to come up with different designs? Or is it more fun sitting down and laying out a book?

BACHALO: I enjoy design like I enjoy, well, onions. Not very much. It's really the hard part about the work and, really, the part that separates the men from the boys. It's hard to beat a good design with or without good drawing skills. Once I'm over that hill, or past the onions, I can enjoy the rest of the journey. It's all good, but only if I'm a happy with the idea. If it's a bad Idea, I'm back to the razor blades.

CBEtc: What do you think stands out in your style? Who do people tell you that your work looks influenced by?

BACHALO: Probably my inconsistency. [Laughs] The one comment I hear more often than not is that my work as changed. Some hate it, others find it amusing. I, for instance, was crushed when Bill Sienkiewicz left Moon Knight for New Mutants. His style went in another direction. Then he did Elektra and I was really weirded out. I look back and think it was wonderful what he did, but at the time I wanted him to continue drawing the black, tooth brush-inky drawings that the was doing on Moon Knight. Some ask why I don't draw like I did on Death. It doesn't make sense to me. That style would be dreadful on Uncanny (X-Men) and I would be bored to death doing the same shtick over and over. I like trying new things.

CBEtc: Who do people tell you that your work looks influenced by?

BACHALO: When I was in school I drew like Bill Sienkiewicz. When Mad (Joe Maduiera) was hot, I liked his style and picked a up a few things that I applied to my style. It's fun for me. My favorite is Michael Golden. Deep down I'm always trying to draw like him.

CBEtc: You got to create a character with the legendary Stan Lee in the "Just Imagine..." series. How cool was that?

BACHALO: Very. That really stemmed from our little get together on GenX a few years back (Generation X #17). That was really cool. I recall trying to come up with an idea to make the issue interesting and I noted the "Stan Lee presents" copy that lead off the book and thought, "hell, why not put Stan Lee in the book?" So I drew him in. Scott, bless him, suggested we get Stan to write his lines. He obliged. Wow!

CBEtc: What did you do before you broke into the comics industry?

BACHALO: I was determined to get a job using my newly acquired art skills after I graduated, so I quickly grabbed a job painting ceramic pots. Mostly painted flowers, a few South west based designs. That was cool back in the very late 80's. Who knows, you may have a genuine Chris Bachalo painted pot sitting on your back porch. [Laughs] I did that for a few months, was laid off, received a few unemployment checks and then landed an design gig at a real estate firm. My future wife hired me. Five months later I landed the Sandman gig.

CBEtc: There's a debate on who said this first, Mark Bagley or Cully Hamner, BUT... both have said to be successful as a comic book artist, you need to be two out of three things. Those three things are: a very nice guy; a really good artist; and a really fast artist. You could be a really nice guy and a really fast artist, but you don't really have to be that good. You could be a really good artist, and a very fast one, but you don't have to be that nice. Or you could be a really good guy and a good artist, but not be that fast. Which two do you think you fit the best?

BACHALO: Sounds right enough. I think you have to be mostly good. You don't have to be nice (several personalities come to mind) and, if you have the time and can afford it, you don't have to be fast (several personalities come to mind). If you a can be all of these, a rare find in any arena, you're going to be rich and famous. Most important is to be really good at it. People, most of them, will wait. I mean, David Fincher is a really good director. I don't now if he's nice or not, but he's not going to be known for being prolific. Same with Tarantino and Singer.

CBEtc: What do you like to listen to when you're working?

BACHALO: I pull most of my listening material from Audible.com. I like listening to the Charlie Rose show. I'm trying out Fresh Air at the moment and am reading/listening to The DaVinci code. David Sedaris is funny. Bill Bryson. I just finished Victor Frankel's book, Man's Search For Meaning. Really, interesting stuff. I listen to talk radio on occasion and music as well.

Okay, now is the time for the "2099" portion of our interview. This is where we ask you 20 questions in 99 seconds. It’s basically an "either/or" type of response, but you can answer whatever first pops into your head.

Interiors or Covers: Interiors

Hal or Kyle: Um, I confess I've never read a single issue of Green Lantern. How embarrassing is that? Pass

Late night or early day: Middle day

Play with toy or keep in box: Play

Fly or drive: Drive!

Sabretooth - AOA or Marvel Universe: AOA!

South Park or Simpsons: D'oh! Simpsons!

Cell phone or E-mail: E-Mail. One of the greatest inventions ever!

Sleep in or make deadline: Read/send e-mails

X-Box or Playstation: PS2

For backgrounds - interiors or exteriors: Exteriors

First print or trade paperback: TPB

Captain America - Ultimate or Marvel Universe: Ultimate

Mac or PC: MAC!!! I'm an APPLE Stock holder. Buy Ipods and Mini Macs folks. Lots of 'em!!

Star Wars or Star Trek: Star Trek. The Shatner and Next Generation ones

John or Paul: Both!

Locked in a room with Morph or Nit-picking Fanboys: Fanboys

Squeeze from the middle or at the end: End

Lou Ferigno or Adam West: West

Buffy or Vampirella: Buffy


ART CREDITS (chronological order with most recent listed first) *Interiors and cover art unless otherwise specified

X-Men: Age of Apocalypse #1-6
Magdalena Vampirella 1 (variant cover)
Daredevil #65 (8 pages)
Captain America (2004) #21-26
New Mutants (2004) #7-12 (covers)
Common Grounds 3 (interior and cover)
Cursed 3 (cover)
New X-Men #142-145
Uncanny X-Men #421 (cover)
X-Men Unlimited #39, 41 (covers)
Hunter: The Age of Magic 17-23 (covers)
Ultimate War #1-4
Ultimate X-Men #18-19
9-11 #2
Batman: Gotham Knights #26 (Black and White only)
Dead to Rights (Pin-up)
10th Muse (Vol.2) #1 (cover)
Adventures of Superman #600 (Pin-up)
Star Wars: Infinities - The Empire Strikes Back #1-4 (covers)
Chamber #1-4 (covers)
Just Imagine Stan Lee with Chris Bachalo Creating Catwoman
Black Tide 1 (cover)
Aria Angela #2 (cover)
Steampunk #1-12
Steampunk: Catechism #1
Steampunk: Idiosincratica
Witching Hour #1-3
Evil Ernie: The Resurrection #2 (cover)
Evil Ernie: Depraved #1 (cover)
Lady Death: Rapture #1 (cover)
WildCATS #3 (cover)
Buffy: The Vampire Slayer #2, 10 (covers)
Uncanny X-Men #357, 364 (covers)
Uncanny X-Men #349, 353-356, 358-360, 362-363, 365
Generation X / Gen 13 (cover)
Generation X #17-22, 25, 27-31
Generation X #7-14, 26 (covers)
Generation Next #1-4
Generation X #1-6
Death: The Time of Your Life #1-3 (interiors)
Books of Magic #25 (cover)
Batman: Legends of the Dark Knight #64
Ghost Rider 2099 #8 (cover)
Ghost Rider 2099 #1-3
Ghost Rider annual #1
Classics Desecrated - Poe Entry
The Children's Crusade #1
Original Ghost Rider #12 (cover)
X-Men Unlimited #1
Death: The High Cost of Living #1-3 (interiors)
Incredible Hulk #400
Wonder Woman #50 (pin-up)
Who's Who in the DC Universe #7
Shade, the Changing Man #1-9, 11-13, 15-21, 23-26, 30, 33-45, 47, 49-50
The Sandman #12