FOR TOMMY: LARRY YOUNG
Okay, okay, I think that.
LARRY: I mean, we add a few new folks every month to
the mix, so to say any new guys and gals are "less than" the
early ones is just not true. Anyone who says our mess of creators
are "less than it was" is sadly mistaken. Every few months
we add a new superstar or two to the mix, like Becky Cloonan
or Manny Bello or Ryan Kelly or Ryan Yount. We're always on
the look-out for new talent.
Oh now, did you really want to say that? After all, there
are two thousand rejected Epic pitches out there.
LARRY: Sure, but a really good ANT-MAN project, or
whatever, isn't going to play well if you just redesign his
costume and call him INSECT MAN and pitch it to us. A good
story is plugged into Hank Pym or Scott Lang or Dudley Do-Right,
or whoever Ant Man is nowadays. And that long history of character
has resonance's and dissonances that can be played off of
to tell a compelling tale. Take out the Marvel back-story
and the project has Styrofoam bones. Much better for someone
to take the Epic experience and learn from it and craft their
own story than waste everyone's time by sending AiT submissions
editor Ryan Yount a warmed-over OMEGA THE UNKNOWN pitch.
Damn, cos like, you know I had this warmed-over MARVILLE proposal,
I'm just waiting for *someone* to have a look at.
LARRY: Read the Image submission instructions and figure
if that's what Image does, with their resources and brainpower,
ol' Crazy Larry and his faithful ward Ryan need at least that
level of commitment from people, too. Do a book and send it
to us, what's the harm? If you send us a completed book, and
it's not for us, what's the downside? Some publisher somewhere
will publish a completed book, believe me.
Talking of completed books, the words on the street are Citizen
Dave. The following to Astronauts In Trouble. Any sign on
See? You are Bill Jemas.
LARRY: Aw, there's nothing new to tell. Charlie's ready
as soon as I finish it. It's been difficult lately to balance
running every aspect of the company and also making time to
Ah, so you're Mark Millar then. Why did you decline to publish
The UnFunnies, part of the Millarworld line?
LARRY: Well, it's not an AiT/Planet Lar book, is it?
Like I said above; we get offered stuff all the time. Why
do we decline, or approve, to publish anything? If it doesn't
fit our scene, it doesn't fit our scene. As a fan, I love
THE UNFUNNIES. As a publisher, it's not optimal for us to
present that to the public. You may well ask me why we decline,
or approve of, anything. Some stuff fits our scene, and some
stuff doesn't. We publish what fits, and pass on what doesn't.
I just thought it was a fairly prominent book that's sold
pretty well for its nature. But okay. what are the criteria
for a book for you? What. well, 'fits'. Is it something you
only know when you see it?
LARRY: Well, there's no hidden list of criteria I consult,
or anything. People always ask me how we pick the projects
we publish. Since we only do 14-16 books a year, and hopefully
I take a couple slots for myself, there really is a very long
shot that someone's going to get the green light from us cold.
There really is no set answer to "How do you all select a
project to publish?" since there are too many variables to
consider. Publishing a successful book is an art just as much
as being able to draw correct anatomy!
tell the story about the Channel Seven cap to explain it in
shorthand... when the first ASTRONAUTS IN TROUBLE story started
to gel in my head, one of the first ideas I had for the cameraman,
Heck Allen, was that he was an iconoclastic wise-guy working
in a corporate world. He'd be so far from being a company
man that it'd be a funny visual in-joke that he'd wear a baseball
cap with the company logo on it. So then that meant that I
had to have a cap of my own. I sent some quotes out to a few
embroidery places in San Francisco, and it turned out that
a minimum-run of caps would end up costing the company $750.
The way I looked at it, I wanted a cap of my own so badly
that I'd pay $750 for MINE, and we could use the rest as promotional
items to send to reviewers, sell at cons, and the like. And
that worked out, because they're a neat little profit center,
and folks who get them feel like they're a part of the team.
sort of evolved into the print-publishing philosophy, that,
if we get a cool proposal, or see some art, or have a neat
conversation with one of the talented friends we have... and
I figure, "I want to read a copy of this book so badly, I'd
pay $10,000 for MY copy, and we can sell the rest to other
like-minded folks," then we'll go ahead and do the contracts.
Obviously, that's a little tongue-in-cheek, but it's close
enough to the truth that you can see why we have Mimi the
MBA run the business side of things while I handle the creatives.
We all do what we do best.
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| 5 Continued