I came about this gig the way almost everybody gets ahold of most of these gigs: I heard there was an opening, I threw my hat into the ring with a pitch, and I came up lucky. Since work for hire is a collaborative process, the whole piece is talked over from concept to completion – sometimes I like that better, sometimes I think it’s worse. I produce the work, and rarely talk about it until it’s done. When I work on my creator-owned books, my experience is nearly that of isolation. Ray Fawkes: The biggest difference, really, is in how much I discuss what I’m doing with other people.
What has been the biggest difference, in your process, between your creator owned work and your work for DC? How did you come about this gig? Special thanks to Multiversity’s Vince Ostrowski and Zach Wilkerson for providing additional questions. We spoke to Fakwes about all three books. His co-written “Justice League Dark” has been one of the great surprises of the past six months – Fawkes’s arrival brought a little more humor and edge to the book – and his “Constantine” has had the unenviable task of replacing “Hellblazer” on the shelves, but Fawkes has handled the transition well, simply telling good stories and not worrying about the public perceptiom.Īnd now, in July, “Trinity of Sin: Pandora” is launching, following the mysterious character introduced in “Flashpoint” #5 through her solo adventures, just as DC’s long-coming “Trinity War” starts in the Justice League books (and crossing over into both “Constantine” and “Trinity of Sin: Pandora”). Best known for his dense and terrific graphic novel “One Soul,” it wasn’t clear how he would fit into the more streamlined, interconnected world of DC. A year ago, Ray Fawkes was not the most likely guy to be writing three books for DC Comics.
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