Steven Yu wrote to me after finding one of my favorite interviews done over the last 23 years. It was with artist Ashley Wood, and he was funny, dark, clever and revealed some of his inner workings. It was nice to hear from someone who liked the interview as much as I did. Years later I got a friend request on Facebook, and he had been posting as a storyteller with his own art and various perspectives on stories and life. I like his work, find it rather intuitive and the storytelling follows a story that works emotively and straight forward. I asked to interview him, and here it is... (My questions regarding Taiwan is a nod to ongoing events, and trying to allow readers to see that current events are valid for more than just embassy staff.)
(Btw all images are copyright the respective owner and this fair use as does not imply ownership.)
(Btw all images are copyright the respective owner and this fair use as does not imply ownership.)
Hello
Steven. I am so happy to be interviewing you. We met chatting over an
Ashley Wood interview, and then you found me on Facebook, and I really appreciate that.
First off, since I mentioned Ashley Wood, in art he is my spirit animal. Does he stand as a great influence upon you.
Ash's work was a great influence on me when I picked up drawing again. My earliest influences were Yoshitaka Amano (Final Fantasy) and Yoji Shinkawa (Metal Gear Solid).
Funny enough, Shinkawa was influenced by Amano, and eventually, Ashley
Wood would collab with Shinkawa on some Metal Gear art. Things just go
in full circle, eh?
Their
works helped me to answer some fundamental art issues I was facing.
Amano's ink and paint works taught me that art was a spiritual practice
as well as a technical one, Shinkawa's concept art taught me that mood
was just as important as details, and Ash's paintings taught me that
what made a piece bold and powerful was understanding how to utilize
contrast.
For
me, Ash, Shinkawa, and Amano are my Triforce of Power. Ash's works
represent raw, elemental power, Shinkawa's works represent precision and
chaos, and Amano is spiritual and introspective. Their works act as an
aesthetic guide for me.
Where are you from, and did you attend university? Are you married?
I
studied graphic design briefly in college at CSU Hayward before being
guilt-tripped into transferring to an Economics major, haha. Asian
parents!
I
was born in Taipei, Taiwan in the early 80's and moved to the East Bay
at 5 years old. My Taiwanese heritage is a heavy influence on my work.
It may not be apparent, but it's embedded in there.
I
am married to my lovely Rachel! We have two cats, Jiayi (named after
the county in Taiwan), and Shinji (named by his previous caretakers from Neon Genesis).
After
graduating, I was hungry to get back to drawing again. I really wanted
illustration to be a career. Not sure where to go, I went back to my
junior college, Diablo Valley College, to study animation from the great
Arthur King. First day in that class I remember he held up a sketchbook
and said, "you will live in this book everyday." It was really
inspiring. The sketchbook is where we live. It's where we can
experiment, learn skills, or express ideas. From that moment on, I knew I
just wanted to draw for the rest of my life.
After
Arthur's class, I started to patch together my own educational roadmap.
The amazing James Gayles taught me his unique approach to watercolors,
Suzie Ferras helped introduce me to oil painting, and reading
comics/manga/graphic novels was the best education on how to put
together your own story.
But
ink became my ultimate love. I actually studied a bit with a
calligrapher and that translated into my illustration work. It was
through learning how to write traditional Chinese characters that I
learned how to develop my style.
As an artist, who do you have as influences upon your art, and in general, who do you like, but not directly are influences on you?
Like I mentioned before there is Ash, Amano, and Shinkawa, but that was from an earlier time of my life. These
days it's a mixture of what I see in technique more than a specific
artist's body of work. Sometimes I see the thick to thin ink lines of
Paul Pope or the flowing line work of
Nicolas Nemiri and
that teaches me something new. There's also a Chinese artist whose
works I like to study, Zao Dao (早稻) who has sublime draftsmanship.
Some
additional influences: Kazuto Nagazawa, Jamie Hewlitt, Katsuhiro Otomo,
Jim Mahfood, Peter Chung, Robert Valley, and Daniel Warren Johnson.
When
I was a kid, it was a lot of the Marvel and DC stuff, but then it
switched to the Image comics of the 90's. As I got older, I started to
read more Heavy Metal Magazines and manga. My go-to genre is more in the
martial arts realm, stuff like Takehiko Inoue's Vagabond and Hiroaki
Samura's Blade of the Immortal.
Samura's work on Blade of the Immortal is what ultimately inspired me to want to make comics. Just
for the record, I use the term "comics" as an umbrella term for all
works that fit under the sequential arts territory. Manga and European
comics often get mis-classified as "genres", but that's incorrect. Is
there a unique, cultural way that each country's creators illustrate and
tell their story? Sure, but manga isn't a genre, it's just the Japanese
word for comics, much like bande dessinée (or BD).
Haha, sorry, where was I? Right. Samura's works are amazing. The way he tells a story with his use of angles, draftsmanship, and angles is absolutely mind blowing. The use of close ups in multiple panels that eventually leads to a wide reveal of the action is effing delicious. I'm not always a fan of his subject matter - look at his "erotic" art book (I use that term erotic very, VERY lightly) or his Bradherley's Coach - and you're going to find some really crazy, disturbing stuff. But it's his way of telling a story that captivates me. And the fact that he can tackle almost any genre, from historical action to disturbing horror, or slice of life stories to romantic comedies, is what makes me admire his work, and ultimately inspire me to want to make my own comics.
Where did your path take you from amateur to want to be professional? Did the ability to publish it decide the genre in which you work?
Do you see comics as a largely "done" genre or format, in that, bigger or smaller in basic size, it might scare buyers off. If you do a largely wordless work, the readers often claim that it was not enough, when for the work done, it might be complete?
Tell me a bit about the comic, and beyond your comic creation, what is it about Joan of Arc that grabbed your attention? Friends who have read my poetry and prose, know that I believe Joan was divinely sent, and for a purpose of world concern. Why her, what is it about her that we should all know about? Have there been other humans that you've noted that have done similar things or acted in similar causes?
Your ancestral roots, Taipei, Taiwan is in a place of earth where the focus has risen recently, and especially danger and events could happen leading to a greater war, and a greater disaster in terms of nuclear weapons. Do you think from what you've studied and learned, is Taiwan going to change the world forever? The first multi party nuclear war would certainly change the status quo. Would that be artistic fuel for your story telling? Can such grave topics be addressed in fiction without diminishing its power? As creative do it, do they reduce the truth or sensitive
Are comics in fact selling as well as ever, but there is a malaise in the market from people saying I don't need immediate tpbs, 12 incentive covers, day one release digital copies and more?
Is that a problem or an opportunity? Why for either view?
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Haha, sorry, where was I? Right. Samura's works are amazing. The way he tells a story with his use of angles, draftsmanship, and angles is absolutely mind blowing. The use of close ups in multiple panels that eventually leads to a wide reveal of the action is effing delicious. I'm not always a fan of his subject matter - look at his "erotic" art book (I use that term erotic very, VERY lightly) or his Bradherley's Coach - and you're going to find some really crazy, disturbing stuff. But it's his way of telling a story that captivates me. And the fact that he can tackle almost any genre, from historical action to disturbing horror, or slice of life stories to romantic comedies, is what makes me admire his work, and ultimately inspire me to want to make my own comics.
Where did your path take you from amateur to want to be professional? Did the ability to publish it decide the genre in which you work?
To
be honest, I'm still trying to figure out how to make a living as I
focus on my own self-publishing endeavors. I freelance, teach workshops,
mentor, and when work dries up, I turn my attention to other gigs here
or there.
I
think there was a period where I thought "making it" meant getting paid
for your work, but as time went on that thought process changed. I
don't think there's anything wrong with that, but it's become the only thing
artists can think about. I've always championed for artists to do their
own projects, find the spirituality in your creative practice, but
oftentimes I hear, "but how am I going to pay my bills?!!" And I have to
fight through that thought process and gently remind people that I'm
not saying, "forget your responsibilities," but I am saying, "take care
of your needs, but once that's met, how will you fulfill your creative
spirit?"
And
so that's where I've been for the past 8 years. Look, I'm grateful for
all of the freelance experience I've had and currently have, but I also
know that I need to tell my own stories. I need to do this before my
soul leaves the earth, or at least before I cannot do this anymore. My
father passed in 2018 and COVID happened 2 years later and fucked with a
lot of things in my life. I know this sounds drastic, and maybe it's
just anxiety talking, but I sometimes feel like there's a ticking time
bomb and I need to do what I was meant to do before that bomb goes
off.
The
need to tell my own stories is like the need for me to breathe air,
eat, fuck, live. That is what guides my creative career. I'll tell you
the same thing I told my wife when we first met and we were talking
about life goals: I can see what the end of my life looks like, because
it looks exactly like the way it does now - me at a drafting table
drawing and writing stories. There is no other path other than this
one.
Yeah,
that's weird right? I mean, weird in how people and the market perceive
work. I'm in a really different group of comic buyers, and maybe it's
because I've always been an illustrator who just happens to do comics.
But I tend to buy comics regardless of any of the market segmentation
that corporations might impose on them. So for example, I know in the US
there is a huge market for cover art and then there's a market for
interior work. I think maybe a few times there have been people asking
if I have variant covers for JOAN, and I had to mention there are
pinup works in the book done by various artists. To be honest, I don't
understand this buying behavior, maybe because I grew up reading comics
from the East and the West, and all those books have had covers done by
the same interior artist. I remember buying a Judge Dredd comic back in
the early 90's and how utterly confused I was when I found out that the
interior was not the same as the cover! I don't think the Europeans do
this, right?
And
size of comics is of no matter to me. I recently bought two Japanese
comics, one was standard manga format and the other was in large book
format. Both are amazing to read and look at, but I can understand the
larger book was done in that size because it was hand-painted. But
honestly, I would have bought it anyway if it was in standard manga
size.
Funny
that you mentioned wordless comics, because I think they're awesome.
I've played around with some wordless comics and doing them is just as
natural as doing ones with text.
10 years from now, where do you see yourself?
Finishing my JOAN series
and possibly working on another project. I might even leave the pop
culture stratosphere for a while and focus on building a body of fine
artwork. I've been thinking of doing a young adult graphic novel that is
loosely based on my historical research of Taiwan. There are so many
things I want to do, but I just don't want to be boxed in. Yes, I am
that hipster artist that tries to rebel against the man, but the man here is just anything that prevents me from having the freedom to creatively express.
There
was a time where I use to stress fame and fortune as a priority, but
now I just want to carve a space for myself and my work. I don't want
the stress these famous comic artist suffer from to the point of
hospitalization. I want to do my art, but I also want to spend time with
my wife and my two cat kids, Shinji and Jiayi. Because that's what it
means for me to live my life.
Tell me a bit about the comic, and beyond your comic creation, what is it about Joan of Arc that grabbed your attention? Friends who have read my poetry and prose, know that I believe Joan was divinely sent, and for a purpose of world concern. Why her, what is it about her that we should all know about? Have there been other humans that you've noted that have done similar things or acted in similar causes?
The
Joan in my comic is not the same as the historical Joan of Arc, that is
to say she is loosely inspired by the real historical figure. The Joan I
wrote shares a similar fate with her historic predecessor, but this
Joan is an existential protagonist. I'm sure Joan of Arc towards the end
of her life had some doubts about her own faith, especially when she
was on trial; but this comic Joan's dilemma is an existential one.
In
previous drafts of the comic, the world of Joan included demons and
angels. God and Satan were to battle it out on Earth, but it was turning
into a huge project that was straying from what I was trying to say. I
removed all the spiritual elements, and decided to put them into the
background. So without God's interference, how would our Joan go about
her life?
Joan has
always been a way to channel my own angst about the indie art/comics
life. I wish there was someone, maybe a God of art and comics per se,
but the best we have is vets and peers who have questions themselves but
are supportive enough to want to help out. This Joan is my existential
hero. Without the interference of the ethereal and the corrupt monarchs
and holy-men that influenced her previously, she will have to figure out
what is true to her. This rings true to me. Without the influence of
what's trending in pop culture or corporate pressure, how do I do the
art that is authentic to me? That's the real heart of what I've been
trying to write.
depths by entertaining with such a catastrophe?
I
can't speak about the politics of Taiwan as that's a complex issue that
I think there are better people suited to address it, but from a place
of my craft, I can say the issues do fuel and influence my work.
Taiwan's history is a complicated issue that I think is hard for
Westerners to understand, because Taiwan is constantly eclipsed on the
world stage.
Real
Taiwan is indigenous. It was the arrival of the Han Chinese, led by
General Koxinga that turned the tides and it was what made Taiwan,
"Chinese" so to speak. But that population assimilated and blended in
with the native culture. My father's ancestors descended from China and
my mother's people are of the Truku tribe. It's crazy because when I
studied this I realized for the first time who I am is a direct result
of that history. If not for the arrival of Koxinga (for better or for
worse), I wouldn't be here.
But
that history doesn't end there. It's further complicated by the fact
that the Imperial Japanese took over Taiwan for 50 years. Then, after
WWII, the Japanese left and it was taken over by the Chinese KMT party,
an opposition to Mao's Communism. Now there's the Democratic Progressive
Party that leads the government and is supposedly fighting for an
independent Taiwan.
As
a child my Taiwanese Chinese great grandmother on my father's side and
my Truku indigenous grandmother on my mother's side lived during the
Japanese occupation. They couldn't speak mandarin as it was banned from
being spoken in public, so when they first met each other they spoke
Japanese.
Was
that confusing? Yeah, well that's Taiwan. A country that's trying to
find its real identity for hundreds of years. That's how I've felt
artistically. Do I keep drawing Batman and Daredevil? Or should I draw
the things I'm really trying to say? Is there a place where different
types of art can blend together in the comic industry? Is there space
for someone like me? Maybe it doesn't matter, because just like Taiwan I
keep going. I keep pushing forward in hopes that one day I have my own
footing and gain the respect I deserve.
In 2028, will comics have morphed into a new format, so that single issues, ebooks, and other formats I am too old to figure out yet, meaning, you know more about making comics than many I know, do you perceive it all changing just from an art or story telling view?
Even
though I make comics, I don't think I have a pulse on it like other
more savvy business-minded folks do. But I can tell you that together
with the internet and conventions it does feel as if being an indie
comic creator is a legit path to go down. That's not knocking the
traditional route, as I feel that's a whole other animal, but indie
creation for me makes sense because it aligns with my life goals. I
think that's the new path for creators. I think it used to be, "how do I
make money doing comics" and now it's, "how do I make a living and how
will comics be a part of my life". That last question opens up a myriad
of possibilities for the artist.
Is that a problem or an opportunity? Why for either view?
I
think the economics of comic making will always be in battle with the
craft of comics making. According to my wife, with my own projects I
tend to be more "European" with my approach, haha. I guess what she
means by that is that I tend to create on a slower volume, choosing
instead to focus on the quality instead of the quantity. And I
definitely agree with her assessment.
Whether it's tbps or floppies, I
create because I have a story to tell and I base the format on what I
think is appropriate for the story. I'm sure there's better men out
there who can make a more precise business decision on what the right
format will be, but that exhausts me. For me, everything comes down to
servicing the story. For example, I am working right now on a project
with a friend and we've been talking about the business around it. At
some point I stopped the conversation and asked, "I think we have a lot
of options, but which one really helps us with creating this story?"
That is more of my take on it.
Thank you Steven Yu!
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