Interviews

Interview with Michael Lindow

By Leroy Douresseaux
February 4, 2004 - 11:02

Michael Lindow is the next big thing, and not enough comic book readers are going to find that out from the get go. That would be the February release of MANIC #1, the manga ka’s (THE BIG O) American comics debut, a black and white, 32-page book ($2.95) from Image. Take a look at the images included with this column, and hear the man speak. Maybe, you’ll want to try Manic #1:

Would give us a brief description of your new Image comic, MANIC - the story and the main players?

ML: MANIC is a cyberpunk psychedelic realistic fantasy. I really don't know how to explain it without getting into the details. Andi is a normal guy who feels out of place. His soul is actually not of this earth. He takes a new enzyme to enhance his hacking experience and is contacted by his people through it. He has the ability to speak to trees by touching them. Eriko is a friend of Andi's who can see past life entities. She has dreams that give her insight into reality. Without giving too much away, Andi's soul is being hunted by an enemy. The police are a visual representation of this enemy. I hope readers can look past the literal symbolism I use and feel what I am trying to say.

Are there plans to continue it beyond the first book?

ML: Yes, I have been told that I will have the option of continuing it. Originally I thought it would run around seven issues, but that could change. Nothing in stone. Just really happy to get the first one out.

Would you mind sharing a little biographical info about yourself?

ML: Well I was born in Korea, grew up in the US, and now live in Japan. The military paid my way through college, where I majored in industrial design. I moved to Japan to learn the art of manga. I was able to get odd jobs here and there working as an assistant. I actually started my own manga club in Tokyo called Tokyo Ink where I made some pretty sweet connections, including the one that got me in on THE BIG O.

When did comics and manga first catch your attention? What were your favorites?

ML: As far as comics go, the first one I really loved was Bill Watterson's CALVIN AND HOBBES. I was about 13 when I first started reading SPAWN and BATMAN. This is also when I first saw Katsuhiro Otomo's AKIRA. This is the anime that led me to Japanese manga. Among my current favorites are: NOISE, BLAME, SKY HIGH, and PSYCHO. (These will knock you on yer ass.)

When did you first begin to train formally or informally to become a comic book artist? Did computers play a big part in your development as an illustrator?

In your interview with Newsarama, you talked about your move to Japan as a way to gain experience as an artist. You worked on The Big O manga. What studio was that, and what were your duties as an employee?

ML: Well the majority of my duties revolved around drawing backgrounds. The whole set-up with comics over here is totally different than that of the states. Here there is one Sensei who writes the story and lays the pages out. He/she also draws and inks the characters. Then there are several assistants who draw, ink and tone the backgrounds. If you pencil it, you ink it. That was what I was doing. I can send you some examples or you can check out the last two books that were put out by Kodansha (this is the biggest publisher in Japan.)

What did the job teach you? How did it help to improve your skills as a storyteller or as far as being able to produce the total comic book package?

ML: It taught me that drawing comics is hell! Just kidding, but man it is hard work. Over here, story and speed is everything. I am over generalizing a bit, but they really could give a damn about the detailed crosshatching on a guys bicep. But again stories are what sell not the artwork. We were putting out like 100 pages some months. That is nuts!

When did you begin to study informally and formally to become a comic book artist - when you first started putting pen to paper to draw manga or comics? Did computers play a big part in your development?

ML: I started to draw comics seriously after moving to Japan. I never really studied comics formally I just drew until I was good enough to get work in a studio.

I have drawn all my life. I thought I would be a pencil artist when I was about 20 I guess. I moved to Japan when I was 23. After several attempts at trying to team up with people, I realized I could only depend on myself to get work finished. This is when I started writing and drafting my own short stories.

I have never used a computer for comics until just recently. I think that it takes away from the artistic handmade touch, which I really dig. Don't get me wrong, some of the new painter styles are killer. I would love to find a colorist to work on MANIC with.

I noticed that you mentioned the film, THE MATRIX, and author William Gibson as influences. Both the film and Gibson's NEUROMANCER deal with characters that become someone new as they go through the story. I imagine moving to Japan was an eye-opener. Do you feel like you've become someone else, or did the move just allow you to spread your wings, so to speak?

ML: Actually I am a PK [Phillip K.] Dick fan. I think William Gibson may have been noted by another artist. Yes moving to Japan was an eye opener. Of course my perspective on comics and manga has changed. I have gained a new respect for the culture and the art form here in Japan.

You've also mentioned that you don't want Manic to be “Amerimanga.” I remember when I first started seeing manga influenced American comics in the late 80's and 90's how phony and derivative it seemed. I can see in manga that creators strive for quality, whereas in Amerimanga the effort is totally in appearance or surface qualities. What do you think separates manga from American copycats?

ML: Story telling ability and character development are the main difference. There are plenty of poor artists making a great living here because their concept and story telling ability are awesome. The amount of readers in Japan is really incredible. You see everyone reading manga on the trains and in the convenient stores. I generally don't buy manga unless the art is good, but Japanese do. They read the stories and chuck the books when they finish them.

This is a personal question. Are you thinking about returning to America? Why or why not?

ML: If I can get a steady job that can support me comfortably yes I will come back. The reason I live in Japan is because I can teach English 3 days a week (about 10 hours) and make a reasonable living.

What are your plans? Do you want to draw comics for Marvel or DC, who seem mildly interested in manga? Are you considering approaching TOKYOPOP who is starting to do original manga? Basically, what are your plans or hopes for American publishing ventures?

ML: I want MANIC to be successful. I love the freedom of working for myself. Right now I'm kind of like a free agent. TOKYOPOP did show interest in MANIC, but I was given a contract with IMAGE first. I have been a big fan of IMAGE comics since the company first started, so I was really happy to get the gig.

I always ask the interview subject if he wants to say anything to the readers - give a shout out, freestyle, or whatever.

ML: Do what you can in this life to make other people happy.

THANK YOU. In addition to thanking Michael for granting us some of his busy drawing time, I’d also like to thank Eric Stephens of Image Comics for connecting Michael and me. You can visit Mike’s home page at (http://www.h6.dion.ne.jp/~michael/), where you will find many images from Manic or you can stop by Image Comics (www.imagecomics.com) for more info.

Leroy Douresseaux is a comic book writer and critic based in Louisiana.

Last Updated: August 31, 2023 - 08:12