By Mike Luoma • 6/1/09

Declaration Of Independents: Jimme Robinson

Jimmie Robinson is currently known for his Bomb Queen from Shadowline/Image. He's also published Cyberzone, Adventures of Evil & Malice, Code Blue, Amanda Gun and more. Robinson is both writer and artist, making him a one man publishing powerhouse... at least theoretically! CosmicBookNews' Mike Luoma caught up with Robinson for a look into his part of the world of independent publishing for our “Declaration of Independents.”

CosmicBookNews: These days you're best known for Bomb Queen, but you've actually built a pretty varied body of independent work – Cyberzone, Adventures of Evil & Malice, Code Blue, Amanda Gun – some great original work. Were comics your “calling” as an artist and writer? What made comic books the right outlet for your creativity?

Jimmie Robinson: The comic medium came into play for me when I was a ten year-old kid watching TV. I had some favorite shows, both live action and animation, and I wanted to draw it for myself. I'd draw what stuck out in my mind about the shows. The key moments and characters. But I was never satisfied with just one picture because it didn't tell the entire story. So I'd make another and so on. I was making sequential art without even knowing it. Thus, making "comics" was just part of my coming of age with TV, movies and cartoons. However, though I started that way and played with the medium for a while I was never actually into comics themselves. That came in my late teens and early adulthood. At that point it was like going back to my roots. Several times I was just too busy with other things in my life to focus on comics and art. I stayed with it, and drawing was always the back of my head, but it never made it to the front burner until my late 20s and early 30s. I often kick myself when I think how late I started, and considering I was drawing on my own since I could remember, you could almost say I've lost a lifetime head start.

As for using the outlet for my writing, that only came about because I had no formal training, and no process to work with writers. Thus, I just wiggled it into my work. Even back to the childhood reference of drawing scenes of my favorite TV shows, I would add dialog and word balloons when I could. Because of this I've never given myself the true title of, "writer". As the guy who can wear all the hats on a project from start to finish I've always seen myself as a jack of all trades and master of none. Of those hats, writing has been my weakest link. Granted I can come up with an idea and concept. Create the characters and plot. But writing it all into a cohesive narrative doesn't flow like my other hats. But the saving grace with comics, in particular the monthly format, is that I can repeat the process until I get it right. I'm one of those folks who grow up "in public" -- in short, on the printed page. I'm not drawing and writing as much on the side. I'm not sharpening the tool kit like I should. Thus, my published books are my sketch books, my idea factories and learning tools. When I see errors in print I fix them in the next issue. When I see others doing stuff in their books a certain way I pick up on that and try it in mine. It's not like TV or film where if it's not right the first time it never goes out at all. I'm about the volume of work. The comics medium allows me to play unlike other industries.

CosmicBookNews: You do it all for most of your books, art and writing – that's a lot of work! Makes each book a pretty Herculean task doesn't it? Not to get too schizophrenic, but does “Writer Jimmie” ever get angry with “Artist Jimmie” or vice-versa?

Jimmie Robinson: Of course. And those internal debates are fought on the art page. There's little conflict in the writing stage because the only opposing view are the images in my head; how it moves sequentially. But in the art stage I won't even follow my own scripts. I'll change the pencils, I'll change the inks, I'll change the script in the lettering, I'll add and subtract panels on the fly. Drives my current editor, Kris Simon up the wall. It's to the point that she will look at my work only after it is ready for press. And that's a pretty long way down the line for an editor.

I don't get upset or angry with my work conflicts in the process, because when I make the changes it seems perfectly logical to me. However, I am upset over the times I change things out of a lack of skill. If I script a panel with a camera angle from a worm's eye view looking up at a character I need to understand and be able to draw that extreme perspective. When I fail at making that angle work, I tend to draw it differently, perhaps more level to the eye. Thus, all the mood and camera work in my scripting for that panel is lost. But perhaps, now that the camera is level I can show a background that wasn't going to be there when looking straight up into the sky. The entire process becomes a push me-pull you game. I write a script, then I attempt to draw it, then when I letter it I attempt to rewrite it to fit the art. And trust me I still write a full script, even for myself.

I know a few writer-artists who pretty much have the story in their head and they usually write the dialog and perhaps a sentence or two for panel description. Not me. I have no problem writing a solid paragraph of panel layouts and notes for each page, scene, character, position, camera, panel and word balloon. I could hand my script to another artist and not worry. But though I do all that, when it comes to the art table all bets are off. I do this even with other writers. I usually work alone, but I've worked with a writer a few times -- mainly because it's their project. But in all cases, I dig my own ditch. To say I use their scripts as a guideline would be charitable. I've changed complete scenes, endings, you name it.

I've always said there are two types of artists. One, who can follow the script / guidelines and be faithful to the writer; I call them the Mirror Artist because they reflect the writer's intention. Two, the type who tweaks the script to find the flow in the art and visual presentation; I call them the Monkey Artist because they play too much. On that scale I'm full tilt on the monkey's side. Not just middle of the monkey, but balls out crazy throwing fecal matter at kids at the zoo insane monkey meter. I'm more content when working alone, because I don't have the worry of what I'm doing to the poor writer's work.

CosmicBookNews: What challenges did you face getting your first Cyberzone book published?

Jimmie Robinson: Basically that I wanted to finally get into comics as a profession and that I didn't know how to do it. I published the very first issue of Cyberzone locally. The printer, this old guy in a two-man shop, had to be shown what a comic book looked like. Luckily, I provided the rest since at the time I was working for a commercial printing company. So my "office supplies" were all the tools of the printing trade. In fact, I knew more about what had to be done to print the book than the printer. But he had the printing press, I didn't. So I worked with him on the first issue, but after that I went straight to the big dogs. Quebecor in Canada.

The other challenge I had was figuring out the comic distribution system. I printed my first book, at regular comic size, color covers with black and white interiors, etc. Basically, I tried to make it look like any other book on the shelf. So when I hand sold the book to my local comic stores on consignment they looked at me and scratched their heads. They wondered why I didn't simply put this in Diamond. To which my reply was, "What's a Diamond?" Yes, I was that green about how comics were made and how they got to the consumers. After some quick catching up I called Diamond, sent them a few copies and got my book in the catalog. This was back in the days when Diamond wasn't the only distributor in the country. So I had to send it around to several companies. The problem I had was my first issue, which I printed 2000 copies of was sitting my house. The distributors needed it in their warehouses. So I ended up shipping hundreds of books via UPS and FED EX to them just so they could ship them to the stores. I also spent money on ads in the catalogs, some mailings and samples. I made sure to hit the conventions and all that jazz. I published 8 issues of Cyberzone before I gave up the ghost. My personal life was a roller coaster and sales were not all that great. I decided to put the brakes on it. But that's when Image Comics noticed it. Three days after I officially gave up, I was back in again. And in bigger and better ways. I don't recommend such a rough course to get published! Nowadays, you can just make webcomics and bypass the whole circus. But I have to admit, it did give me some skills I still use today.

CosmicBookNews: I know of at least one book you've done for the “Big Two” - the Wolverine What If? You were the writer on that piece. Conversely, on the indy Avigon you were on art with Che Gilson writing. Do you prefer doing the writing over doing the artwork? What sort of balance of the two would you strike in an ideal world?

Jimmie Robinson: I prefer to write. The art is the battle. I'll tell you upfront, I cheat on art whenever I can. I'm all about the product, the volume, the body of work over a length of time. With the art I'm not treating each page like my baby. However, when it comes to writing I care a lot more. I guess my personal view is that the writer gets more respect than the artist and I'd like to grab some of that. Sadly, I'm not a great writer. I get by and it's one of the hats I have to wear. I don't have the luxury of honing that skill. In fact, my dream is to write for a project that I created and have someone else draw it.

Wolverine What If? was fun, and I did get to play with Marvel's flagship characters in unique ways, but ultimately it's not my property. I worked with two editors on that, and you'd think a What If would be pretty much freedom to go off the rails. It wasn't. I loved doing the work, but at the same time I saw how the system worked. Still, it was a great experience and I hope to get some future work from the Big Two some day. I just want to be a better writer when I do. I learned more about the tools of writing when in a "team". My scripts had to be different even for the lettering process. That's something I've never had to think about on my own. So a balance...? I still prefer to work alone. My greatest enemy, however, is time. I simply do not have enough to properly do the work that I personally want to do.

CosmicBookNews: You've done some work for the “Big Two”, but have mostly continued to publish independently. Is this by design? Do you have a strong DIY ethos? Are there benefits to doing it all yourself?

Jimmie Robinson: I do have a strong desire to do it myself. I can create something that might work in the market. I can write for that creation, even spinning it off into other books. I can draw that creation, and even do it in a different style that people may not expect from me. I can ink that art and do it consistently and with several tools, from traditional to digital. I can computer color the creation using the standard tools of the industry with no problem. I can letter the creation, including logos, design, packaging and back matter pages. I can I can produce and market the creation to the comic industry and make the conventions, shows, and events. And this doesn't even include the interviews, the website (still need to actually do it!) the Internet forums and interaction with the readers, or the ancillary product like skateboards, T-shirts, stickers, tattoos, and action figures. I have no problem doing that work myself, or making those things happen with other people. However... as I pointed out, what I don't have is time. And no matter how I may want to do it myself, at some point I need to break down and get help, or do things in a way to make it happen on time. I tend to fall into the latter. It's great to have the ability to work on several things, but it's sad, at least for me, that I don't become proficient with them.

CosmicBookNews: We've seen some independent creators working with Hollywood. Have you seen any interest in your work? Maybe it's just me wondering but I've gotta ask... Any chance of a Ralph Bakshi Style Bomb Queen movie?

Jimmie Robinson: Haha! Nobody has asked about Bomb Queen. Not yet. And I have no problem working with Hollywood - even if their view of what Bomb Queen is doesn't match mine. I surmise any treatment of that title would end up looking more like the polar opposite of the source material. I'm not against that, but perhaps there's less interest in it because of how it would have to be reworked for the screen. That said, I think it would play just fine if the Queen ended up much like Mad Max Thunderdome, or Escape from New York. The Queen simply plays the bad guy in the film. The lead can be heroic and they simply have to survive going through her world to get things done.

But Hollywood has come knocking a few times on my other books. Amanda & Gunn was talked about for a bit. A TV studio liked the idea of a future sci-fi story set in a rural community. The production values would be lower - since more sci-fi tends to be in the urban cities or out in space. What's Montana gonna look like in 2050? Kinda the same as it does now, I suspect. You can save a lot of money with a high concept story like that. The other project was Evil & Malice, which was optioned and even went into development for over a year. The money was good and since I owned everything on it from the standard Image Comics deal, the studios had to deal with me. I got myself an agent and hammered out a deal that I would work as the head artist. But after a while they didn't renew the option to continue it and the rights reverted back to me. This was prior to the whole superhero blockbuster film era we're in now. Oh, how I wish they could see the writing on the wall. I would have been in the cat bird seat. Oh well. That's how the cookie crumbles.

CosmicBookNews: Who inspires you creatively?

Jimmie Robinson: The performance artist, Laurie Anderson, is someone who makes me think about presentation, visual ideas and all around quirkiness. I'm not too much into the standard fare. I watch a lot of Japanese animation, anime, because they tend to think outside of the box, or at least understand how to present something that's common in a new way, or with a new spin. French film director Jean-Pierre Jeunet is also someone I love to watch. His City of Lost Children and Amelie are constant reminders of storytelling in ways that inspire. I can say the same for Akira Kurosawa, and of course' Miyazaki's body of work and his desire to break the mold. As for music, I'm just too fickle to stay with any particular band. I like college punk and experimental work. Not to say I can't listen to pop / alternative / top 40 whatever, but I just can't sink my teeth into it. As for audio books, however. Well, that's a feast I have yet to satisfy. As an artist that is one medium that keeps me going. I have a serious growing collection of audio books. Tape, disk, iTunes, whatever. It all started with Stephen King's Dark Tower series read by, I considered the best, Frank Muller. I tried reading those books but never got into them. But Muller, he's the damn master at pulling you in. I could listen to him all day and night. Sadly, he passed away due to an accident. But once I got in I hopped around and found a wonderful world to entertain me while never leaving my art table. It's the best medium because it goes straight from the writer into your ear. No Hollywood filter, no "based on" the source material routine. There's something that really works in that department. Not just the new modern masters, but also reaching back into the cannon and listening with new ears.

CosmicBookNews: We're calling this series on independent comic book creators at Cosmic Book News “Declaration of Independents”. Back in 2006 you made a declaration of your own, of sorts, with your Comic Book Resources essay, “You Are Not Helping Comics!” Do you think the situation has improved in the last couple of years? Do you still see a sort of inferiority complex endemic to comic book fandom? How do we change that?

Jimmie Robinson: That CBR piece was pure theater. It was shock-jock stirring of the pot to grab a bit of spotlight. Squeaky wheel gets the grease and all that. I wouldn't put too much weight into that. But the platform I used to launch that had some merit -- comics had been in the ghetto of fandom, never to see the light of day. But to answer your question I'd say yes. Times have indeed changed! But I will note it's not purely from our making. Hollywood's continued success with film and TV has made the mark on the common man in ways we only dreamed about. The only problem is that we aren't holding the reins. It's great to see more comic-based films grabbing millions at the box office, but it concerns me that the source material isn't savored as well.

I was also wondering if due respect would come in reverse. That Hollywood would nurture the creators as well as the material. That was answered with Frank Miller. He stepped up and gave it a swing. Sadly, his film The Spirit may have set back ideas of giving too much power to the comic creator. But we still see others making behind-the-scenes breaks into TV and film. So yes, things have changed. The talk around the water cooler in the office might be about Wolverine, or Iron Man and that might get those who really wanted to talk about comics to non-comics people the opportunity to break out of the basement and be more of an advocate for comics beyond buying them and putting them out of sight in long boxes.

But as I said, that CBR piece was mostly for fun. Fandom has grown, and done so on the Internet, on the street, on the screen and in the office place. Everyone has their own way of saying who they are and what they support. There's no one way to be part of fandom and I am happy for that diversity.

CosmicBookNews: Looking ahead... What do you foresee in the future for independently created comics?

Jimmie Robinson: Internet. Internet. Internet. I was in the store this week and noticed the increasing number of books that started out online and ended up in print. The internet/webcomics approach is a godsend to anyone with a creative bug. You can be accomplished at the craft, or just have something unique to say with stick figures. The field is open and the ability to pin-point your audience is a great advantage to future independent creators. That said, the field is huge. And already, before the bugs have really been ironed out, the webcomic "zone" is flooded. Sometimes I see people talk about webcomics and their eyes glaze over. Because without talking about a specific title the whole idea of webcomic is just too generic.

I see the future in multiples. The days of one single thing is over. There won't be just that one app, or one social network, or one avenue, or one book store. It's everything. The audience is spreading out in all directions. Some are online, some in stores, some in school, some at work, some on handheld devices, and many doing all of the above. Just grabbing some might be okay for a while, but I think the future will be how to hold more than one group at a time. There is talk about the Longbox project and how it might be the new iTunes for visual media. I am hopeful it will make an impact. But even if it doesn't, when it comes to the online world, it will still be supported.

When enough people are watching a webcomic / portal / whatever/ that community will breathe life into it. Even if it loses popularity over time. It's almost like the banking industry's claims of being too large to fail. MySpace is still going despite Facebook, and that's still working despite Twitter, and so on and so on. Independent comics, be it online, in print, or both (the Kindle) need to see the audience as fluid, or as air in a balloon. Squeeze it one way and it moves around, but it's still in the balloon / container. I think the future will be about marketing, or taking advantage of marketing when luck happens to fall near a creator. That's always been the case, but never before have the tools been so clear, casual and accessible to the creator. That said... we still need imaginative people to create in the first place. Tools are just that. Real inspiration... that's another thing.

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