Off the Record...

We recently caught up with writer/editor Joe Pruett. Don't recall the name? Don't worry, you soon will. Joe's work has been recognized by his peers for over a decade, as he's been nominated for and won numerous prestigious awards for Best Editor, Best Anthology, Best Short Story, among others.

Lately, Joe has delved into writing for the Marvel Mutant Universe, scribing tales for such characters as Wolverine, Cable, Gambit, Bishop and, soon, Domino. Joe spoke to us a little about his upcoming Domino mini-series, as well as the differences between writing for Marvel and some of the smaller publishers.

How did you break into the industry?

Well, I had just graduated college and had nothing to do. I was starting to get into reading comics again. One of them was "The Flaming Carrot," by Bob Burden. Coincidently, Bob lived in the same town as me, so I wrote him a letter. I told him that I just graduated college and that I wasn't some huge nerd or a stalker, but I was interested in breaking into comics and offered my services as his assistant. Surprisingly, about three weeks later, he called me up and asked me to meet him for lunch. He offered me a job as his assistant.

What did the assistant job entail?

Pretty much anything and everything. I learned to do some lettering. I put the panels on the pages. I inked backgrounds, put in the blacks, the word balloons. One of my jobs was taking the tapes from his hand-held tape recorder (which he took everywhere with him) and transcribing them. I learned how the creative process worked, at least for him. One of the things I realized was you are never really away from your job. You're constantly thinking about something creatively.

Who was your first writing inspiration?

Hmmm... The first guys I remember being writers back in my "growing up" days were Don McGregor, Roy Thomas, Doug Moench. I think the ones that really first influenced me were Frank Miller on his "Daredevil" run, and Chris Claremont's "X-Men." Especially guys like Alan Moore and his work with "The Watchmen" and "Swamp Thing." Alan Moore, Dave Sim and Bob Burden got me interested in comics again.

Speaking of writing styles, one thing that I've noticed in many of your stories has been how you open the first couple of pages of the issue with something gripping, whether it is a fight scene, a crisis or something that simply demands attention. Is this planned or do you just like jumping right into the story, and let the characters develop on their own?

I kind of do it on purpose. I can't remember who it was, but some famous writer once said, "Take your first 10-15 pages of your story and throw them away." Meaning, if you get rid of the little stuff, you can hop right in to the story. I like to get the readers into the story right away, get them interested and then I can develop the characters from there.

"Negative Burn" was an exceptional and unique anthology series. It won numerous awards on an annual basis. A slew of very talented and often well-known creators brought their characters to life in these pages. It seemed like the series ended just when it was hitting its stride. Do you miss working on it?

Joe doing research in England with Mike Perkins ("Green Lantern/Aliens") and Paul Jenkins ("Witchblade" "Hulk"). Notice how many beers they "expensed!"

Yeah, I miss it. I miss working with all the different creators. You know, when I first started the series back in 1993, I was told that a black-and-white anthology, with no established theme or genre to it, wouldn't last five issues. I'm proud to say it went 50 issues and I quit on my own terms. The sales were not as strong as they first were, but that was just the marketplace. Black-and-white comics are a tough sell, and there seems to a bias against them.

Do you think it is an industry bias or a fan bias?

I think retailers are shy towards them. They don't sell as well, and the numbers support that. "Negative Burn" was my baby. It was a lot of fun. I do miss it. I am very seriously considering doing a Tenth Anniversary issue in a couple of years.

In the last couple of years, you've been involved with more "mainstream" titles, like "Cable," " X-Men Unlimited" and, more recently, "Gambit & Bishop". Is there a big difference working for or writing for between the two?

There is a big difference. Take the X-Men office, for instance (which I love and have nothing against). You have to go in with the understanding that the stories are written by committee. It's not just you writing the story. You are steered in the direction that the stories need to go, because these plot lines are set a good bit of time in advance. I don't have any regrets or any complaints, because I knew what was going to happen going in. I do feel I've lost some of my writing style, or identity, though.

Doing the new "Domino" mini-series, with Brian Stellfreeze, while still an X-Men office book, is the first chance I've had (besides maybe Magneto Rex) to actually feel like it's me writing the book. So, I'm having a lot of fun with it.

What can you tell us about "Domino?"

She's a woman.

Okaaaay...

Oh, you mean the mini-series? Well, Brian Stellfreeze and I wanted to work together on a project, and her name came up. Brian thought she was visually interesting and nothing has ever really been done with her of any significance. She has a lot of potential, so we wanted to develop her.

Our goal, or inspiration, was the Chris Claremont - Frank Miller "Wolverine" mini-series. That series, for the first time, actually developed Wolverine as a character. He had always been a "berzerk - psycho" guy, but they developed him into a modern-day Samurai. Since that series, everyone else has sort of followed that take on him. That's what we want to do with Domino. By the time the series is over, people will have a character that they can use. We are going to re-create the character in a way. I think the fans will really like it.

Who is your favorite character that you created?

Hmmm... It would have to be Kilroy. That character was always dear to me. Although the stories were always about the people he visited. He was like my Will Eisner "Spirit" character, showing up all over the place, but always in the background. He was the vehicle I could use to tell stories that really happened around the world.

Do you recall what was the first comic book you ever had?

I had some early "Iron Man" stuff. And "Amazing Spider-Man." I was a "Marvel Zombie" for several years. If it wasn't a Marvel character, they didn't count to me. Back then Marvel had more of an edge than their competitors.

What professional would you most like to work with, either living or dead?

The person I would MOST like to work with is Brian Bolland.

I thought you worked with him on "Negative Burn?"

But never on a story that I wrote and he drew. I never had a chance to write a script for him while he was on "Negative Burn" for all those issues. Of course, Brian writes all of his own stuff now, but that would be my dream, have Brian pencil one of my stories. Oh, and David Mazzuchelli, too. I would love to work with him.

McKeever. Bolland. Bradstreet. What do these names all have in common? For one, they were all used as character names in several series you worked on. Sometimes, artists will draw themselves or their friends into a story. Is this what writers do as an inside joke?

(Laughing) Okay, okay. Sean McKeever was a friend of mine. He's doing the "Hulk" right now with Paul Jenkins. Bolland, is not BRIAN Bolland, as you might be thinking, but actually my best friend from high school. And he's has a different spelling, too (Boland). Tim Bradstreet, yeah I used his name, too, actually as a name of a town in Dusty Star. Just having a little fun.

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

Write or Edit: Write

First Print or TPB: First Prints

Hal Jordan or Kyle Rayner: Hal Jordan

Late Night or Early Day: (Laughing) Late Night

1st Batman movie or X-Men: X-Men

Sleep or Make deadline: Well, make deadline. But I fall asleep, usually. (Laughing)

Star Wars or Star Trek: Star Wars

Play with Toy or Keep in Box: Play with it

Sega DreamCast or Sony Playstation 2: Playstation

Fly or Drive: Fly

Telepathy or Flight: Hmmm... Flight

South Park or Simpsons: Simpsons

Call or e-mail: Call

Big G.I. Joe or little: Big! (In a tone of "As if you even had to ask")

Beach or pool: Ah, I'd probably get in the pool.

Squeeze in the middle or at the end: (Laughing) Uhh... middle? Oh, toothpaste? Oh, oh, oh...in the middle definitely. Actually the top, probably.

Radio or CD: Radio. I don't even have a CD player.

World Series or Super Bowl: World Series

Lou Ferigno or Adam West: Well, they're both sexy in their own way (I'm kidding). I'll probably say Adam West.

Buffy or Vampirella: Ooooo... Buffy! By a WIDE margin!

CREDITS

Writer

• Domino #1-3 (mini-series, November 2001) (Marvel Comics)
• Gambit/Bishop # Alpha, 1-7 (Jan-March 2001) (Marvel Comics)
• Gambit #25 (Dec 2000) (Marvel Comics)
• Wolverine #158 (Nov 2000) (Marvel Comics)
• Bishop #16 (Nov 2000) (Marvel Comics)
• X-Men the Movie: Magneto #1 (X-Men movie tie-in, June 2000) (Marvel Comics)
• Weird Western Tales #2 (short story, March 2001) (Vertigo/DC Comics)
• X-Men Unlimited #24-30 (quarterly series, July 1999-Jan 2001) (Marvel Comics)
• Cable #71, 73-78 (monthly series, July 1999-Feb. 2000) (Marvel Comics)
• Megan of Avalon #1-up (4-issue mini-series, due ?) (partially published in Croatia)
• Frank Frazetta Fantasy Illustrated #6 (short story, July 1999) (Quantum Cat)
• Magneto Rex #1-3 (three issue mini-series, March-May 1999) (Marvel Comics)
• Gen 13 Special: Go West (one-shot special issue, May 1999) (Wildstorm/DC)
• Crime Wave/Untouchables #1 (one-issue series, April 1999)
• Kilroy #1-2 (mini-series, April 1998-)
• St. Germaine #6-7 (back-up story, March-April 1998)
• Unbound #1 (bi-monthly series, January 1998) (Image Comics)
• Untouchables #1-4 (monthly series, 1997-1998)
• Daemonstorm: Kilroy #1 (one-shot, May 1997)
• The Nameless #1-5 (monthly series, May 1997-Sept. 1997 (Image Comics)
• Dusty Star #0-1 (bi-monthly series, 1997) (Image Comics)
• The Big Bigfoot Book (anthology, short story, 1996) (Mojo Press)
• Caliber Spotlight (one-shot special issue, short story, 1995)
• Kilroy Is Here #0-10 (bi-monthly/monthly series, 1994-1996)
• Kilroy: The Short Stories (one-shot special issue, 1995)
• Kilroy Is Here: Revelations (one-shot special issue, 1995)
• The Book of Twilight (graphic novel, one-page story, 1994)
• High Caliber (graphic novel, short story, 1994)
• Negative Burn #1, 3, 4, 6, 11, 13, 18, 22, 24, 28, 32, 37, 47, 50 (monthly series, short stories, 1993-1998)
• Calibrations #1 (one-shot special issue, short story, 1992)

All Caliber Comics unless otherwise stated

Editor

• Negative Burn #1-50 by various (monthly series, 1993-1998)
• Black Mist #1-4 by James Pruett & Avido Khahaifa (limited series, 1994)
• Negative Burn: Best of Year One by various (graphic novel, 1995)
• Boneshaker by Phillip Hester (one-shot special issue, 1995)
• Exit #1-5 & Epilogue by Nabiel Kanan (bi-monthly series, 1995-1997)
• Cavewoman #1-8 by Budd Root (bi-monthly series, 1996-1997)
• Negative Burn: Best of Year Two by various (graphic novel, 1996)
• Moebius Comics #1-6 by Moebius & others (bi-monthly series, 1996-1997)
• Calibrations (2nd series) #1-6 by Warren Ellis and various (monthly series, 1996)
• Construct #1-6 by Paul Jenkins & Leo Duranona (monthly series,1996-1997)
• The Sussex Vampire by Warren Ellis & Craig Gilmore (one-shot, July 1996)
• Ship of Fools #1-5 by Michael Avon Oeming (bi-monthly series, 1996-1997)
• The Wretch #1-4 by Phillip Hester (bi-monthly series, 1996-1997)
• The Bandy Man #1-3 by Stefan Petrucha, Charlie Adlard, Miran Kim, & Jill Thompson (3-issue series, 1996-1997)
• Kingdom of the Wicked #1-4 by Ian Edginton & D'israeli (3-issue series, 1996-1997)
• Patty Cake #3-4 by Scott Roberts (bi-monthly series, 1996-1997)
• Dicks #1-4 by Garth Ennis & John McCrea (4-issue series, 1997)
• Rib #1-5 by Andrew Ford & Matthew Kelleher (bi-monthly series, 1997-1998)
• Mr. Monster Presents #1-3 by Michael T. Gilbert (mini-series, 1997)
• The Maze Agency #1-3 by Mike W. Barr & Gene Gonzales (bi-monthly, 1997-1998)
• Untouchables #1-4 by Joe Pruett, John Kissee and Michael Wm. Kaluta (monthly, 1997-1998)
• Phenenorama #1 by Scott Morse (one-shot, September 1997)
• Grumble #1 by Greg DiGenti (one-shot, October 1997)
• Necroscope #1 by Brian Lumley, Martin Powell, Mike Perkins & Vince Locke (bi-monthly series, November 1997)
• Mazeworld #1-2 by Alan Grant & Arthur Ransom (two-issue series, February 1998)
• Harvest King #1-3 by Joe Casey & Mike Macropoulos (three-issue series, 1998)
• Alan Moore's Songbook Collection #1 by Alan Moore & various (one-shot, July 1998)
• The Actress & the Bishop #1 by Brian Bolland (one-shot, due 2002?)

All Caliber Comics unless otherwise stated

Letterer

• Negative Burn #1, "Flaming Carrot and the Flapping Head", (July 1993); #48, "The King of Rain" & "Straitjacket" (July 1997); #49, "A Week During the Apocalypse", "Goo", "Revolution" & "Jaiden" (September 1997)
• Black Mist #3 (1994)
• Raven Chronicles #14 (February 1997)
• Searchers: The Apostles of Mercy #1, 2 (April, August 1997)
• High Caliber #2 (May 1997)
• Red Diaries #2 (June 1997)
• The Nameless #2, 3, 5 (June, July, September 1997) (Image Comics)
• Untouchables #1-4 (1997-1998)
• Through the Woods, Beneath the Moon: A Dark Poem #1 (October 1997)

Special recognition and awards

Best Anthology (for Negative Burn)

CompuServe Comics and Animation Forum Awards 1994 (winner)

Ton Thompson Awards 1995, 1996 (winner), 1997, 1998 (winner)

Eisner Awards 1997, 1999

Harvey Awards 1994, 1995, 1996, 1997

Publishers Choice Awards 1995 (winner)

Best Editor CompuServe Comics and Animation Forum Awards 1994 Don ///.,,/Thompson Awards 1995, 1996, 1997 Eisner Awards 1997

Best Graphic Novel of Previously Released Material (for Best of Negative Burn: Year One) Harvey Awards 1996

Best Overlooked Book of the Week the week of June 18, 1994 for Negative Burn #11, by the Pop Culture Radio Network

Best Short Story (for "We Can Get Them For You Wholesale"; original story by Neil Gaiman, adaptation by Joe Pruett and Ken Meyer Jr.) Eisner Awards 1995

Editor of Nominated Series for Best Humor Publication Eisner Awards 1997 for Patty Cake by Scott Roberts

Editor of Nominated Series for Best New Series Eisner Awards 1997 for The Wretch by Phillip Hester

Editor of Nominated Series for Best Series Aimed at a Younger Audience Eisner Awards 1997 for Patty Cake by Scott Roberts

Most Improved Series (for Negative Burn) Don Thompson Awards 1995