RAGS MORALES: NIGHTWING AND THE BAT-FAMILY - NEWSARAMA

January 30, 2008 by Chris Mosby · 1 Comment
Filed under: Comic Book News, Comic Creator Interviews, DC Comics

I have been a fan of Morales work since Identity Crisis. I am really glad to have him on Nightwing

RAGS MORALES: NIGHTWING AND THE BAT-FAMILY .

by Vaneta RogersAlong with Peter Tomasi kicking off his Nightwing run earlier this month, January’s Issue #140 of the title also saw the return of artist Rags Morales to monthly comic book interiors.As we found out from the artist last spring, he’s been out of the spotlight for awhile for both personal and professional reasons. But between this gig on Nightwing and the story he did on Batman Confidential with writer Tony Bedard, which begins in February, Morales is back with a vengeance.

Newsarama talked to Morales about his work on Nightwing and what brought him to the title in the first place, looking both back toward his preparation for the first issue and forward to what readers can expect from the comic in the future.

Newsarama: It’s got to feel good for you to have your work out there again. It’s been awhile for you, hasn’t it?Rags Morales: It’s the gig, ain’t it? I think it’s been about a year since my stuff has been out, but I’ve been busy. Batman Confidential lucky #13 comes out in February to go along with Nightwing #141, my second issue. As an artist, audience response is what we live for, so yeah, it’s great to see that people haven’t forgotten me.

NRAMA: How did you get the Nightwing assignment? And what were the reasons that Nightwing seemed like a good choice for you to pencil at this time in your career?

RM: I was kind of at a crossroads. I was coming close to ending my Batman Confidential arc and the only thing in the wings was Number of the Beast with Scott Beatty at Wildstorm. But they wanted it out bi-weekly — I wasn’t aware of this initially — and I was thinking, “This is a universe-wide project that requires me to develop new characters and get familiar with a universe I knew little about. I just can’t do this.” With Identity Crisis being my biggest universe-wide project, I felt I couldn’t up the ante with this project. I was depressed. Then I got a call from my buddy Ethan Van Sciver and in the course of conversation, he let me know that Peter Tomasi was moving onto Nightwing and they hadn’t settled on an artist yet. So I was like, “Hey, I like Peter and to work with him with something that’s getting me a little more lead time …well…it’s kinda a no-brainer.”

The icing was that I just did Nightwing in the Batman Confidential arc and if I could convince them to put it out at the same time Nightwing was due out, then maybe they would be nice bookends to each other. It took some time for them to get back to me, but they eventually gave me the nod, and here we are.

NRAMA: As you said, you’ve worked with Peter Tomasi in the past as your editor. Was that part of what attracted you to this project? Did you like the idea of that collaboration?

RM: Honestly, as a writer, the only thing I’ve seen by Peter was Light Brigade with Peter Snejberg. It was a great story, but that was all I knew. I wasn’t aware of his Black Adam stuff, or his working on Green Lantern Corps. But Peter is one of the best and mellowest people in this field and after speaking with him, I was sold. As was he on me.

NRAMA: Did you and Peter talk a lot about what you wanted to do with Nightwing? And can you share what you were thinking about for the character when you took the gig?

RM: I’m aware of some of the crossover developments in all the Bat titles, but getting to what this title really needed, I didn’t know a blessed thing. I really hadn’t read much of Nightwing at all to that point, and it wasn’t until I read some of the message boards that I was aware of how disappointed people have been of the last few years of the title.

That’s when I called Peter and he really started to flesh out his intentions to me. I knew then that we would be well received. Even though we already had a game plan, I went out and did the old “what do you want in Nightwing stuff” as if we were still trying to figure it out. That was for me though, to one, to succinctly familiarize me with the common conception, and two, to get a bit of a buzz going. Since then I’ve read a few trades of Nightwing and now I’m very comfortable with the project.

NRAMA: Just as a kind of big picture, what do you hope is the overall visual tone of this comic? Were you going for a certain feel? Being a “Bat-book,” does it just naturally have to feel darker? Or are you guys going for something else here?

RM: I guess that will have to come out organically. But since it’s set in New York City, I thought a good frame of reference for me was Frank Miller’s Daredevil run back in the day. But honestly, I never go into any project with a pre-conceived notion of what it should be, I just let the writing affect me, and do my best. If the writing feels dark, light, whatever, I just roll with it. I guess I want to feel like a fan, and let it come to me.

NRAMA: Is it just me, or have you refined and maybe even changed your style a little here?

RM: Nope, it’s you. But I try to do better with every new project, so maybe you’re seeing it like I feel everyone sees me — as Identity Crisis. Please don’t get me wrong, it’s been a Godsend, and I loved what it’s done for me. In some ways though, I feel like I may have failed the story a bit. That’s something that kind of bug’s me a little. I think most people don’t think beyond that series when it comes to my work. I have a body of work, and there were some chances I took with Identity Crisis that I wouldn’t want to do again, like the whole “casting” thing. From now on, I’m gonna think “character” instead of “who can play this character.”

NRAMA: Well, I think I’ll always remember you for that Hourman run, and there’s no doubt you’ve evolved as an artist since then, but let’s talk about this idea of character. How would you describe Nightwing as a character? Who is Dick Grayson, and how does that play out in the way you draw him?

RM: For better or worse, he’s the original Robin. That won’t be ignored no matter how much you try. But like Identity Crisis is to me, Dick isn’t just Batman’s “chum” anymore — there’s more to him than just that. He’s grown now, and it’s time to shed light on his development, instead of this perpetual cycle of Batman brow-beating his old subservient. In my head, I like to think that Batman is actually a little jealous of Dick. Dick Grayson, to me, is what Batman wishes he could be — above it all. Above the torment that Batman feels and perpetuates… I mean really, he’s such a buzz kill, ain’t he?

NRAMA: I think that’s his point — the whole fear thing. But the fights in a Bat-book are always fun, and those action sequences with Nightwing have to be pretty movement-intensive. He doesn’t just stand and shoot like the Punisher or fly and swing his mace like Hawkman. Can you tell us anything about how you approached the action scene in issue #1 in particular, and anything you can tell us about how you approach those pages?

RM: Getting back to Frank Miller’s Daredevil, there were moments of cinema that really struck me. Nightwing already had that in his stories, so it wasn’t a leap for me. One of the things that people have said about my work that I’m proud of — prior to Nightwing — is that there is a natural fluidity to my compositions, so I guess it’s second nature for me. But it is time consuming to do the “multiple images” thing that this title is known for. That can be tedious, because it is so dictatorial in a scene, but when it’s done, it looks cool. So who am I to complain?

NRAMA: His acrobatic ability is certainly an important part of his character. How do you emphasize that in your artwork?

RM: Really, really, really, think it out. That much is true. I spend an exorbitant amount of time trying to get it right. It doesn’t have to be textbook, but it does have to make sense within itself. Jamal Ingle was the best at that, from my point of view, plus he made it look textbook. I’m jealous.

NRAMA: While we’re focusing on characters, Tomasi said url=http://forum.newsarama.com/showthread.php?t=128643]in one of our interviews with him[/url] that he wants New York to be a character in its own right. How do you accomplish that through your artwork? Have you done research on the setting? And are you sick of drawing cityscapes yet?

RM: I hate drawing buildings, and I know I must be driving my partner Michael Bair up the wall with my maddening need to be texturally correct. But when you get it right, you feel great about it — until you have to do it again. The only way to get New York down is to go there. I was born there (Hamilton Heights), in fact not far from where Peter grew up (Washington Heights). But my family left for New Jersey when I was 5. My uncle lives in Hell’s Kitchen, and when I turned 15, I used to visit him frequently. I don’t know everything about it, but I do know how it feels. My ex-girlfriend and I used to go to Greenwich Village a lot, and Soho, so that area is somewhat familiar to me. Still, though, I struggle to get it out on paper, so I do have to do a lot of referencing. Peter has sent me pictures of Washington Heights and the Cloisters; add to that the internet has been invaluable. New York is odd: Warm and cold, modern and old, large and confined all at the same time. And hard. New York should feel hard — concrete, wrought iron, glass, steel. In the end, though, you have three New Yorkers on this title. Peter, Bair, and I know enough and it should come through. Oh, let’s not forget Michael Siglain the editor. Our boy from Staten Island.

NRAMA: Among other characters in the title, Tim, Bruce and Alfred seem to be playing a pretty important part. How do you portray the way they feel about each other? Is it all about facial expressions, or is there a lot of body language going on here?

RM: Body language and facial expression go hand in hand. You just have to know how to act a little. Batman is a brooding alpha male, and it shows even as Bruce Wayne. To counter that, Alfred is the consummate Englishman. Reserved and gentlemanly. Tim is what every Robin is… cute and fun. I guess that’s why people didn’t warm up to Jason Todd, because he isn’t what Robin is supposed to be. Dick set the template. ‘Nuff said.

NRAMA: What other characters can you tell us are going to be a part of his supporting cast in future issues? Is Debbie the library girl going to return?

RM: You’ll have to keep reading to see what or who we have in store, but Debbie is a keeper. I don’t know to what extent, but like every female character, Dick is trying to find that one girl to make it all right. I’ve mentioned this in a message board: I don’t know if it’s possible for Dick to settle down, simply because he has the kind of lifestyle that isn’t stable — not just now, but ever. I’m not so sure it’s in his nature, but it is fun to root for him every time he tries. For me though, I hope he doesn’t ever get hooked for good. He doesn’t seem to be in need of women, just in want. I like that about him.

NRAMA: Can you talk about the villain in these issues and how you drew him? Or is that a secret we’ll have to wait and see defined through the story?

RM: Well, it’s pretty self explanatory, really. He’s the combination of Captain Boomerang and Black Condor. Knowing Black Condor as well as I do, I went back and forth with Peter on how this character was to be presented. With the help of Mike Siglain, I won. I wanted this creature to have Black Condor’s rib cage grafted onto Captain Boomerang’s body, giving him two sets of arms. Then I wanted Black Condor’s spinal column attached to the base of Captain Boomerang’s skull. Why? Because the basis of Condor’s ability to fly comes from radiation treatments, so I thought it logical to have his central nervous system attached to Boomerangs brain.

As far as the other baddy, Creighton Kendall, I reminded Peter of this character’s obsession with creating a flying army in the Golden Wing Society. Kendall’s forefathers really wanted to bring a group of flying winged men to disperse justice (catered to their liking, of course). It was a handed-down vocation of the Kendall clan since the Revolutionary War. Through countless experiments, Creighton included, which is why his left arm is always tucked in — it’s actually a failed experiment of a grafted wing — the Kendall family finally graduated to radiation treatments, hence, Black Condor. Black Condor, not wanting to be any part of the Kendall creed, escaped from his grandfather’s estate, and Creighton has since hounded him, trying to get back his property. So it seemed logical that Creighton would be first in line in retrieving his grandson’s body, since it was wasted in Infinite Crisis.

But I’m staying mum, on the rest of the villains. Stick with us, you’ll like where we’re going.

NRAMA: You’ve said elsewhere on the web that you’re expecting to need a little help on the series as you get started. We’ve seen Don Kramer’s name on the April issue. Can you tell us who’s helping out and why?

RM: They really wanted me to be there for the first four issues, but I was also wrapping up the covers to Batman Confidential. I was going back and forth for a little while and it’s my fault, however, that I took a bit more time to do the first issue in the time than I had. I just approached it like any other new project — as if it were a series starting at issue #1, not #140 — and tried to get the tone and footing off with a bang. So now Don Kramer will be adding his beautiful work and together we’re getting through the first five issues. But don’t let this sound like “here we go again.” I’m busting my fanny trying to get this book situated and have a long and fruitful run. I really do like this series.

NRAMA: So does that mean you’re on Nightwing long-term? And what do you hope to bring to the series going forward? What are you hoping to accomplish?

RM: I’d like to be on Nightwing as long as I can but I don’t want to set any goals, because goals always change. Let’s just say I have nothing but Nightwing in my sights. But as far as what I’m hoping to accomplish? To beat the hell out of every other book in the market.