BY JENNIFER M. CONTINOAlthough most people might have known
Mario Gully for his creator-owned work on the modern day superhero
Ant, he's been working on a few very different projects lately in the world of comics. Gully is one of the men helping to breathe new life into vintage books with by illustrating several titles in the Marvel Illustrated line. His latest collaboration with
Roy Thomas brings
Robert Louis Stevenson's exciting tale of young David Balfour to life in the five-part adaptation of
Kidnapped. Gully said this is "really neat stuff to work on."
THE PULSE: A lot of our readers might know you for your work with Ant. But Ant seems to be missing from comic shelves lately, as you make your way through some corners of the Marvel Universe. What made you want to put your creation on the shelf for the time being?
MARIO GULLY: Well Honestly, I thought I needed a break. The Indy scene was rocky at times and I was always tired. Penciling, Inking ... writing, getting help, and the help was making things worst. It was bad for a while there, and I just got frustrated, and made the jump to bother Marvel for a while. It was tough though because I knew at that point that I had to put Ant on hold for a while and get a break.
THE PULSE: You've worked on a few different projects since taking that break. What have been the challenges of working on someone else's vision?
GULLY: Honestly, it was and is easier. At Marvel all I have to do is pencil a page and don't worry about it anymore. I actually never had that experience since I got my break working on my own creation. I always had to work on everything from the inside front cover to the letter page. So, Working with Marvel and asked to do revisions once in a while was gravy. It also helped me in my work and to meet a deadline. Oh, while I'm thinking about Roy [Thomas] and the editors are real cool about me doing double page spreads that isn't in the script and adding my own creative eye to the pages. It's been a really great experience. Some great people I've had the please to work with.
THE PULSE: Speaking of Roy, what made you want to illustrate Marvel's version of the classic Kidnapped tale?
GULLY: Well, it didn't play out like that. I was talking to Ralph Macchino (Editor) and was letting Marvel know I was hungry for more assignments. He said something about Kidnapped and I said, "Sure, sign me up"! I didn't exactly get to pick this particular series. Also, they were pretty happy the way Treasure Island turned out, and they thought I'd be good on another pirate tale, I think. Kidnapped is about a young boy, David Balfour, whose greedy uncle tried to swindle him out of his inheritance and plans to ship him on a boat and sell his as a slave. Really neat stuff to work on.
THE PULSE: Had you read the original story? If so, what did you remember about it? If not, did you check it out after getting this assignment?
GULLY: I hadn't even heard of Kidnapped. I checked it out online and read a few pages of the book. I tend to shy away from too much reading of the book because it influences my art and I toss stuff in there that I remember reading. I like to respect Roy's script as much as I can while staying true to the material.
THE PULSE: Were you a fan of Roy Thomas' body of work before you got the chance to illustrate Treasure Island and Kidnapped? If so, which of his past comics were favorites?
GULLY: That's a hard question because the guy is a legend. I remember being really grateful because I got to work with a guy that has been around and has worked on some of the best characters ever. I recently got a hold of the Marvel Visionaries he wrote and I enjoyed it very much.
THE PULSE: What kind of intimidation factors do you face working on another property like Kidnapped that you didn't have when you were the sole force behind Ant?
GULLY: Well, Jen it's a big learning process for me. I was actually intimated about going to Marvel in the first place. I was always that kid that stood in them long portfolio review lines to get turned down every time. Even when Ant was considered a success I kinda felt like I had to build and learn everything from trial and error. So, I didn't really know that I was ready for Marvel or pumping out pages with quality on a timely manner. Kidnapped and any 17th century material was really not material I was comfortable drawing. Intimidation was there also because I wanted to do a good job. I guess it all worked out.
THE PULSE: I'd say it has, especially since you've gotten new opportunities. How did you research the 17th century for Kidnapped? I mean, it's not like we have a wealthy of materials available as with more modern eras ...
GULLY: I Googled the hell out of everything. But, Most of my training was on Treasure Island. I got to a poing around issue 4 or so that I could kinda fake the 17th century "look" and it felt natural. When Kidnapped rolled around I just had to remember my tricks. Also, the Editors were really great at sending me links and pics of the look or an object that appeared on a particular page.
THE PULSE: Speaking of Google, what advantage do you think artists of today have with the Internet at your fingers?
GULLY: It's life changing. My cpu is set up right next to my drawing table you I can have unlimited references at my finger tips. Back in the days you had to get mags or shop for what particular reference you may need. Now a days with the internet you can get what you want in seconds and it's light years faster then taking a drive to a book store.
THE PULSE: Aside from your historical references what were some of the things that influenced your art on these five issues of Kidnapped the most?
GULLY: It's tricky because I wanted a different look. I tried more shadows and I more facial expressions. I honestly was looking at [Joe] Quesada's One more Day earlier on the series, and by the end of it, I was just trying to do my own thing. I'm still influenced heavily by Greg Capullo -- but more of his attitude and draftmenship than his particular rendering and such. I think it's kinda hard to see in these pages though.
THE PULSE: About how long was it taking you to illustrate one of these issues? I know you talked about deadlines a little, what kind of one did you have on this?
GULLY: Well, I'm honestly fast. Or disciplined. When I did Ant at Image they had a reputation of being late and sometimes I rushed pages. I figured if I had the opportunity to get in at Marvel, that I had a chance to prove I could be reliable. I drew two sometimes three pages a day, and I didn't want to have the quality suffer. Honestly, I finished Kidnapped issue 5 when Issue 1 just hit the shelves a few weeks earlier. Marvel gave me a good deadline, but I really wanted to impress and show I had the goods. At one point I was a month ahead of schedule. I'm nothing special ... I got four kids and I need this industry to work for me.
THE PULSE: How does it feel to have these deadlines from other sources outside of your own drive?
GULLY: OK, to be honest. Deadlines are great, but to be honest, the page rate is the driving force. Remember, I never really had that either. At Image I was paid on the back end. Truthfully that why most of the artist including myself were a hit and miss with deadlines. If you missed a month it was like two months or so before you got a check -- if you got one at all. With Marvel everything works on schedule and the checks are never late. After I got a few checks, I got spoiled and honestly, it motivated me. I can't see why anybody would miss a deadline for just penciling a page. I guess they've never been through the stuff I been through. If I can get paid on time, I don't see why I can't turn my work in on time. That's all the drive I need.
THE PULSE: Did you have a lot of times were you never were paid?
GULLY: In my carrier, yeah! Well I don't want people reading this and get the wrong idea, but a lot of times a lot of creators don't get paid for many different reasons. I had books I made and the checks were either slow or something, and I'm not the only guy. But to be fair, I've had deals where I asked for more money than I think I deserved and got it, because I was affraid of the company going belly up. I have owed the talent that worked on my books money and that sucks too. I've also paid creators way more than the norm and even advance money, because I know how funny and heartbreaking this biz can be.
But that's all the Indy stuff I have dealt with. My experience with Marvel has been really great and it even gave me the love back I had for creating comics. When they told me something they did it. When I needed something they were there to help, and only a couple people in this biz have been helped me out like that, and didn't want my soul in return.
THE PULSE: You're working on a lot of non-hero comics here at Marvel so far ... would you like to work with some superheroes?
GULLY: Sure would. That's what I'm waiting for. I did a few pages in an Exiles book, the Marvel Adventures Hulk and the Triple A book has like the whole Marvel Universe in it. I still haven't gotten the meat yet. Still on vegs at Marvel.
THE PULSE: What is next for you after Kidnapped?
GULLY: I'm actually working Ant right now, but I'm not sure what my next Marvel gig will be. They gave me the impression they are looking around for something.
THE PULSE: What's coming up in Ant?
GULLY: I'm doing a 4 issue mini series that I'm really excited about. I can say when and where though because the publisher wants to make an announcement. Plus I want to finish a couple issues before it's all out in the open.
THE PULSE: Got anything else you'd like to tell our readers about?
GULLY: I would but I'm not good at letting cats out of bags before it's time. People do that all the time and sometimes the projects get shelved or something. So, I just hope people like my stuff and look forward to the new Ant series: Days like these part 2. Oh, and check out Kidnapped!
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