ComicBoards Interview

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An Interview with Mike Grell, by Randy "Moonstonelover" Burtis

ComicBoards Exclusive!

My thanks to Mike for taking the time out to conduct this phone interview with me. It was excellent hearing aboutt his stuff right from him, and I hope the readers of this interview will catch a bit more of the character of this man and how that shapes how he approaches his art!

  • Q: You both write and draw, which is most satisfying?
  • A: I find them both quite satisfying. I don’t know what I would do if someone said I had to give up one or the other. I think I would probably stand in the middle and whimper. I always considered myself to be a storyteller, that goes for both the visual and the verbal. I try to do that even with the paintings I do. I am very visually oriented, But lately I‘ve been enjoying the writing process a bit more, especially when it comes to writing comic books. Writing can be a bit more spontaneous and you don’t feel constrained when you are writing a scene where there are hordes of villains on one side and gangs and good guys on the other. You don’t feel, “Oh crap, this is going to be horrible to try to illustrate”. When you are faced with something like that as an art project it can be very daunting.

    Working with other writers I remember a story Robin and Batgirl in Batman Family #1 and there was this pull back scene on the last page where it kept pulling back farther and farther and I realized if it kept pulling back it was going to have to show the entire meeting of the joint session of the Senate and the House of Representatives, all the senators and congressmen and Barbara Gordon addressing all of them… at which point I dug out a National Geographic and ran to the nearest Xerox machine. It was just too much for me. But I have always considered myself first and foremost to be a storyteller. What I like about writing is that freedom to do anything and go anywhere, just by typing. What I like about the visual or art part is that you get to play movie director... you get to cast all the parts, design the set, design the costume…you basically act it out on paper.

    That was probably more detailed an answer than you were looking for…I don’t do the standard George Bush thing where he has the 3 standard answers to a question and he just fills in whatever answers seems to fit the closest…
  • Q:Now I am wondering if I should ask you your opinion about the war…

  • A: You can save that for later if you like!

  • Q: Why decide now to kick off a web site?
  • A: It was all the work of a young man named Stephen Legge. He decided I had been without a website long enough and if I wasn’t going to do it he would, and he did. He is a longtime fan, a great guy and a terrifically talented webmaster and he did all the work. It was an idea I had thought about for quite some time, but never had the gumption to actually sit down and get the darn thing done. The timing of it now was good. There has been a great deal more interest in my work in the last year or so then there has been for some time. I have been getting quite a lot of fan response to it. As well we are working on some future projects and any time you have something new going out there it is always good to have an avenue of communication with the fans so we can keep them up to date on the new stuff that is happening. Mike’s New Website

  • Q: Any NEW projects you are working on we can discuss?
  • A: I have recently contracted on a writing project, the nature of the beast is we need to wait for the company to lead off with their announcement before I can do any kind of follow up, and we are in planning stages on a new comic project and another related comics project. I can’t release even company information at this point until they are ready. For example, let's say Sony Pictures just signed Sean Connery to play Maggie the Cat(just using a ridiculous example here so that no one will jump on it and say ,hmm maybe Sean IS playing Maggie the Cat.)If I went out there talking about it Sony Pictures is going to feel bent out of shape because I jumped their PR Department, and Sean might object to me alluding to the fact that he going to play the part in drag or something… You have to wait for the people involved and time it for what works best for them.

  • Q: You have done some independent type stuff with Jon Sable, worked at DC with Green Arrow, and at Marvel with Iron Man. What environment are you most comfortable in, what are some of the differences between them…
  • A: I am the happiest doing independent publishing for a number of reasons, primarily for the creativity aspect of it, and that follows through with the down-the-road financial rewards of having complete ownership of the characters. For example if you do a project for DC or Marvel that eventually becomes a movie, you do get benefits from that, but not as great if you are the sole owner. There’s a creator package in play that is always taken into consideration, but the larger money is often in the rights. So when a movie company secures the film rights the creators get a certain amount off of that, but the real money is in the licensing.

  • Q: There was some potential movie stuff with your character Jon Sable, but then that got placed to the side due to 9-11 stuff. Has that situation changed?
  • A: Not anything right at this moment, but there is continued interest. Sept 11 did factor in there. We were close to a green light in March of 2001, and the company was trying to push production ahead in light of the potential Screen Actors Guild strike. They would have had to start shooting March 15 so that they could have it in the can to have it released in October of 2001, but when it became a tight fit, they decided that rather than rush it into production they would wait. If you saw some of the movies that came out around that time you can tell they were rushed and not great movies. They felt Sable was a good enough project that they wanted to spend the right amount of time on it so they put it on hold and planned to start shooting parts of it in October.

    Then 9-11 happened and the funding for the features just evaporated. Lots of the capitalization was European and it just vanished, it wasn’t anything personal and it certainly wasn’t anything against the character. The producer, Gene Simmons of KISS, was a big admirer of Sable and loved the character for years and years and felt really bad that it happened, but Sable wasn’t the only project of his that got axed. So we are still looking.

  • Q: After Sable, fans most recognized and appreciate the work you did on Green Arrow.
  • A: I would have to say it is a dead heat with Sable. There were stories in Sable that I would put up against anything I have done, and there were stories in Green Arrow that were good. Not the least of which was the jumping the gun on the Iran-Contra scam. That turned out to be pretty hysterical. Turns out I beat the news into print by 6 months with that story line. It is amusing looking back at it, it is one of those hindsight things where people looking back at it would say, “Oh, this is clearly based on the Iran-Contra affair…” when in fact it predated it by 6 months. The way it happened was pretty funny. I got a call from a New York radio station guy who wanted to ask me some questions. He had gotten a copy of the comics and saw it predated the actual story by 6 months. He wanted to know how that happened, I pointed out the historical precedence of things like this. Milton Caniff who did TERRY AND THE PIRATES and STEVE CANYON, often had the FBI knocking on his door because he had predicted the invasion of Burma in TERRY AND THE PIRATES, and when it was time for D-day, he actually had some of the actual code words of the beaches in his script. It was really a question in his case of paying attention to what was going on in the world, and applying his own areas of expertise in creating a story about it- everything else was coincidence, which was brought home again when Patty Hearst was kidnapped.

    Milt had 6 weeks of continuity already written and drawn on a story about a young heiress who was kidnapped and falls in with her captors and actually joins them and becomes one of their members. He had to scrap that story line and start his script over from scratch. It was years before that story was actually run in the comic strip.

    So I told the radio guy that the way I had done that was… working within the framework of the story and the characters, I looked around at what was going on in the world and asked myself, “If I was CIA right now, what would be the stupidest thing I could do, if it thought I could get away with it”… and that is what I wrote.

  • Q: You most recently worked on Iron Man...heading into your time there how much background/history did you have on the character before you started?
  • A: My Youth. I had the first issue of Iron Man as well as the first issues of Fantastic Four, Hulk, Spiderman… you name it from that era. Left them all under the bed in safe keeping of Mom when I went off to College. To this day I still enjoy taking the Buyers Guide home and showing her how much they would have been worth if only she hadn’t thrown them all away! I did my best to catch up with all the recent and older work that had been done on the book. Marvel provided me with a great deal of reference and a good buddy, Phillip Anderson, entrusted me with a large quantity from time periods that Marvel didn’t have readily at hand.

  • Q: What vision did you have in mind for your run with Iron Man?
  • A: I saw Iron Man as a modern knight in shining armor. I wanted to stress the humanity of the character, the man inside the armor as opposed to just the armor itself, which I felt was the direction the character had gone. It was a case where he had become so powerful it was hard for the average Joe to relate to this guy, plus they had eliminated the one human weakness he had, which was his frail heart. I tried to compensate for that the best I could by repeatedly hammering on the fact that he still needed to recharge everything or he would be in deep trouble and that is was possible (because of the way that everything was linked) that not only could the armor recharge his heart, but it could also go the other way around--that if he used up all the energy in his armor he could also drain the energy of his heart, which would then lead to his demise…anything to try to humanize the guy inside the armor.

    The armor not only protected him from the dangers outside, but it also isolated him from the rest of humanity, which is the thing that set him apart, not his money (although it is very hard in the real world for people to give a damn about the problems of a brash boy billionaire). I really don’t care if Bill Gates gets up in the morning and has Athlete’s foot. I really don’t care if he is having a bad day because his stock dropped and he lost 17 billion leaving him with a mere 130 billion, or whatever the number is…I don’t care, I can’t relate to it, and I don’t think a reader can either. So what I tried to do was get into the human side of Tony Stark as much as possible and that included all his relationship problems.

  • Q: You have talked about how you see Stark, but what about some of the other characters… What about Happy Hogan?
  • A: Happy is this poor shmuck who just happened to be best buddy and perennial sidekick to the guy who had it all. Not just in terms of the money and the power and the fancy mechanical suit and everything else, but there was a definite contrast between the two if them. Happy…was for lack of a better expression… a “happy go lucky” type counter foil character to Tony. He had a certain amount of humor about him and he was in a lot of ways a jock kinda guy, but when it came down to the really tough action Tony always stepped in there with the armor and overshadowed him in every way. So when it comes down to relationships I figured there was going to be a certain amount of conflict there, especially in fact that Pepper and Tony had history, and the fact that it was more or less unrequited history. It made it that much more interesting to create a scenario where I could throw them all into conflict, and I did that by increasing the level by which Happy felt he was an outsider. Pepper and Tony had this secret between them, it wasn’t just their feelings for one another, but the fact that Pepper was pregnant and Tony knew about it, and that she kept it a secret from Happy, the one person in her life that should have known. He should have been told and had that right as her husband, it was really important to their relationship and she didn’t tell him. On the one hand she is protecting him, on the other hand she is shutting him out. That was spelling disaster for them, not just for Pepper and Happy’s relationship, but also for Happy and Tony’s relationship.

  • Q: Some fans loved the idea of Tony and Pepper eventually hooking up, others think it is blaspheme…your plan was to bring them together? Is that correct?
  • A: ABSOLUTELY, and the only way for that to happen, was for there to be a problem and separation between Happy and Pepper, and blaspheme or not it makes for interesting human storytelling.

  • Q: Where would Rumiko fit in all this? Things between her and Tony were progressing really well…
  • A: Yes, they were, and that creates an other conflict. In making her more sympathetic, making her a more likable, interesting character than the selfish b*tch she had been for so many years, taking her away from the self centered aspect, it made the readers like her more and root for her more so it creates greater conflict when, for whatever reasons, she and Tony split up. It is unfortunate in some ways with some of the alterations that were made in the story lines as we went along because there are aspects that really got lost, but that is one of those editorial things that happens. I know that on the one hand I was supported by the editorial staff in wanting to bring Tony and Pepper together, but on the other hand that it would somehow make her feel slutty, and nothing could be farther from the truth as far as I was concerned.

  • Q: Does fan reactions and comments factor into what you decide to do with the titles you are on?
  • A: I think it effects the editors more than the writers, because when I have a character and story in mind--when I have formulated the plot and the relationships and decided the direction everything is going and begun that journey--by the time it gets to the fans I have already gone 5 steps beyond. My lead time on most of those stories was around 5 months. As a matter of fact issue 50, where I featured a Muslim woman as the primary romantic interest and made her into a reoccurring character, had nothing to do with 9-11. I had no political axe to grind whatsoever. In hindsight people would look at that and the timing- especially since the issue that followed that involved firefighters trapped in a burning building- and say, “It is all connected to 9-11”. Nothing could be further form the truth. It was a story line that was pursued for the drama of it and the development of the character. It had nothing to do with what was going on in the world because I was already so far ahead at that time. What the reader reaction does effect on a very quick ongoing basis is other directions publishing companies elect to take from the stand point of sales.

    The surest way to have an impact on what is going on with a company, if you don’t like a book: stop buying it and people will pay attention. There is nothing like a sudden plummet in sales to get everyone’s attention.

    I remember, this has to go back 20 years, I was in a comic shop and there was a comic series that was being published (I am not going to name it, but if you think about it you can probably figure out what it is.) that was almost universally reviled. but it sold like crazy, I was in the shop when a new issue came out. The dealer had placed stacks of issues on the table…hundreds of copies just stacked up there… and this young man came in there and picked up a dozen copies of this book, all the while moaning and groaning and saying this was the worst crap he had ever read, he can’t believe they have done this… and my friend then says to him, “Why are you buying it then?” The guy replies, “Gotta have a complete collection.”

    It was echoed by one of main people in that company, in fact the guy who wrote it, “If it is so bad, why is it selling so well?” That really is all the justification from a publishing standpoint that you need. If you create a commercial product it doesn’t matter that much if people say its bad or not, true to the character or not, or it is taking the company in a direction you don’t want it to go… the bottom line is the bottom line and if that bottom line is the best sales figures in the history of that company then you have a hard time convincing anyone you have done anything wrong.

    In the extreme there was the disaster that hit the comic market in the mid ‘90’s. People speculated on books they thought were gonna be worth a lot of money someday and, of course, they found out the hard way that if something exists in an edition of 250,000 to half a million it’s not really a collectible. It is a trendy thing that a lot of people want to have at the moment, but as soon as you try to resell something that you bought on speculation and the dealer reaches under his counter and whips out 400 copies and says “Here, I got all you want for 50 cents each.”…there goes the market.

  • Q: Since we are talking about sales, at the time that Manhunt was starting to come out there was also the price increase being applied to Iron Man(and some other books) and rumors of cancellations and so on. Looking at the industry today, do you think there is a place for an Iron Man comic today?
  • A: ABSOLUTELY. Iron Man is a good character, it is a great concept, one of the icons of the comic industry. It doesn’t hold the same positions as a Spiderman, Batman or Superman holds, but even still it is what you create it to be in the public's mind. And the fact that Iron Man has been around as long as it has means there are a lot of people that grew up reading the book and a lot of them are now executives in the film industry, which certainly doesn’t hurt.

    Worst case scenario: if the sales drop like a rock, the worst that would happen is them suspending publishing for a short period of time and then relaunching with a new number 1. The other reality of it, when you are dealing with a company like Marvel, is that they can well afford to maintain a title as a loss leader, as long as it is not humiliatingly low in sales.

  • Q: Whose idea was it to expose Iron Man’s identity?
  • A: Every move that was made was made together with the Editorial. It wasn’t necessarily the recommendation or suggestion, it was something that developed out of discussions with Tom Brevoort and we decided that the concept of Tony Stark being able to keep this a secret was probably a bit on the ludicrous side, especially over the years, as he became much more muscle bound. Here’s a guy who started out as a frail kinda guy and then turned into an Arnold Schwarzenegger type. The way to handle that was to get it out in the open and play off of it as, again, it would then create more conflict for the character and more interest for the reader.

  • Q: Some would say you took too long to address this issue of consequences for Tony exposing his secret identity. How would you respond to that?
  • A: The identity question had cropped up from time to time before Manhunt, but there were things, other things, about the character that were equally important to pursue at the moment. There’s only just so much internal skullduggery that can go on before people start to get the other idea, that all we are getting is feedback and fallout about him being Iron Man. Whether I addressed it too much, too little, too late, that is anyone’s call. I can’t really speak for what the fans thought about that, as I said it was 5 months later, so it is a little hard.

    The other thing to bear in mind… apart from a certain amount of fluidity as we went along, all the stories I did for Marvel were plotted in advance. We had more than a year worth of storyline outlined before I began work on the project. So as far as what was happening with the character, I was dealing with aspects of Tony Stark’s relationships, the people around him, and trying as hard as I could to humanize him as much as possible within the context of the storylines I had created.

  • Q: One of the things that could be pointed out about your run is the absence of the costumed super villains, Iron Man’s rogue gallery so to speak. What are your feelings about that?
  • A: The only real super villain I was dealing with was the Mandarin and what we were doing was creating a new Mandarin, a new villain, for a new age.

  • Q:Compare if you could the differences between Temugin and Mandarin.
  • A: The comparative difference I saw were that the original Mandarin’s power not only came from his personal villainy and his political agenda, but primarily it came from the power rings. In order to beat Iron Man he needed something else beyond what he was. The difference between him and his son is that Temugin's power derived from the Zen, the way he was raised, more of a spiritual/philosophical character. His power was derived from what was inside of him. Which of course doesn’t leave him immune to the external, it just made it more interesting. If you have a character in possession of these power rings which are capable of working amazing wonders and then on top of that he is physically superior(in the Zen/spiritual aspect) then you have a real serious enemy, or opponent. I never really saw Temugin as Iron Man’s enemy, he was a character who was forced into the situation, not because he wanted to, but because he was forced to out of a debt of honor.

  • Q: I have appreciated your approach of going beyond the typical good guy/bad guy…let’s fight type story to try to make the stories be deeper.
  • A: It is a little hard to get across sometimes. The toughest battle I have fought over the years has been “what the story is” and “what the action is”. One of the best BAD examples I can give--the difference between good storytelling and bad storytelling--is the First Blood movies. First Blood was an action piece but it was also character driven. The main character of Rambo changes, he starts as a lone drifter, a quiet guy with some problems, then you explore the character and find out who he is as things move along. As conflict occurs, he changes and reverts to what he has been trained to be, and the audience gets that all in a nice compact package.

    First Blood 2 was just shoot them up, BANG! BANG!…James Cameron at his best. He wrote a terrific, totally action oriented script that people could check their brains and the door and just watch the fun. That was fine.

    Then came Rambo 3 where the producers clearly checked THEIR brains at the door and said, ”Everyone knows about this character and what he is, so what the movie is about really doesn’t matter. Let’s just blow crap up.” I mean they blew up something like $70 million worth of equipment…they blew up real tanks in the deserts in Afghanistan. It was a lot of fun for them, but they forgot to tell a story.

  • Q: Speaking of stories you had a story line for Iron Man ”Manhunt” scripted and even solicited, then there was your abrupt departure from the book. What had you intended for that story line?
  • A: In point of fact I was told that the story line was going to be scrapped. They were going to start over. So I was actually surprised that it appeared at all. As for why the abrupt departure I asked that myself and I was told that it was actually more internal.

  • Q: Internal? Can you clarify that?
  • A: It had less to do with me and more to do with something that went on at Marvel. That is my George Bush answer.

  • Q: Hmmm, then I guess this would be a good time to ask you about this present war we are in.
  • A: My answer now is the same I gave on the Vietnam war…”it is a Sh*tty mess”. It is clearly a more politically motivated than motivated out of necessity. I think Saddam is a bad guy I believe he has to go, YES! I think it was a serious mistake for the US to take the path that they did, to have set their agenda so far in advance, their timetable so far in advance, that they were unable to bend- that they weren’t willing or capable of giving the UN enough time to do the job they were supposed to. I think it is a dangerous move and we haven’t seen the last of the fallout from that.

  • Q: You have worked in comics and you have done some novels...which medium do you most enjoy?
  • A: I enjoy both of them for different reasons. I think I enjoy novels because of the depth you can get into the character and not being constrained by a page count. My editor on the Sable novel came back and asked me to write 50 more pages. I said, “I don’t think I can do that”. He told me he felt the end of the book needed some more to it. I went in and I changed things. I replotted then I sat down and reluctantly starting writing the extra 50 pages. It turned out to be not only the easiest thing I have ever done, but it also turned out to be, what I think, is the best section of the book. It gave me opportunity to go in directions I wouldn’t have gone to before because I had already reached what I thought was the end. I had to go back and look at the process and the journey he was taking because basically that is what any good story is about, it is about the journey, it is not necessarily where it starts or ends. When we go to a Bruce Willis movie we know there are going to be good guys and bad guys, then the Bang! Bang! Shoot em up and the good guys eventually win. That is a given. But it is what happens along the way that makes it interesting.

    Comics are easier to do because there is a nice comfortable frame work to work in. You have the opener- the compulsory action early on that has to take place. It is very unusual for a comic story to go more than 4 pages before there is some kinda big explosion happening or some kind of action. In fact when I did Warlord, I wrote those in a specific formula, it had to have the big action scene on page 2 and 3, it had to be a 2 page spread, it had to be an action spread, and everyone of them I wrote had the same formula in them. It was just necessary, get that action in there! Then there was character development that happened, some changes along the way, deepening the plot, deepening the conflict, changing things around, taking a new direction and then the resolution which was always through action. It wasn’t until I got to Sable where I was able to do stories that I felt I had the freedom or the creative balls to tell a story that didn’t necessarily start with action, that didn’t start with the shoot them up Bang! Bang!

    Sable 19 stand out particularly to me. I had a number of fans wonder about some of the details and layers in that. What happened next? Sable is on the run from bad guys, yet there is more to it than that… so I put up a directors commentary on my website.SABLE 19 COMMENTARY.

    At the end of the story Sable has one bullet left, and made it to his father-in-law's home looking for more ammo. Now Sable has been a suicidal character so the reader is left to think, “Well if you want to die, just stop running and let the bad guys get you!” At the end he leaves his house and the extra ammo and goes out with just that single bullet to face the bad guys and stop them from destroying the last link he has to his family by sacrificing himself. It is at that point when the Old Man makes his decision and his personal change is forgiveness. He recognizes, like it or not, that Sable is his last link to his daughter and picks up his gun and goes out the door and that is the end.

    People wrote in “What happened then?” My answer…”IT DOESN’T MATTER!” That isn’t what the story was about, it was about coming to that moment, that moment of change and transition in everybody’s life.

    I can’t take sole credit for the concept on this, there has been a number of good stories that left you with a lot of thought. One that always stuck in my mind was an episode of the White Shadow, about an autistic boy who was given the opportunity to get on the court with the basketball team. Basketball was one of the few things he could do. He could shoot baskets. They are down to the last moments of the game, the home team is behind just slightly, and his friends/teammates decide they want to put him on the court, and they give him the ball. Everyone is then chanting “Shoot!!!”, the home team is blocking the opposing team players, then there is this shot of this autistic boy with the shot…the ball leaves his hands…freeze frame just as the ball leaves his hands!

    And that was the end, because it doesn’t matter what happened after that... the story was about the kid taking the shot…

  • Q: You have taken a shot at Iron Man, are you content with what you were able to do with the character, despite having your game cut short?
  • A: I am satisfied with what I had done up to the point where things got out of control. I am dissatisfied with some of the editorial changes that were made from the time it left my control…these were more changes in dialogue, pace, and plotting than anything else. For and example--the best one I can give you, in light of what I was just talking about-- in the comic where Happy gets shot, to me what I wrote was the crux of the situation: we see the view through the snipers scope, we see the cross hairs on Tony as Tony is revealing to Happy that Pepper was pregnant. Big conflict going on, lots of anger and resentment and conflict building. At the moment the sniper is poised to shoot Tony, Happy hauls off and punches Tony in the chops, and that knocks him out of the way of the bullet and Happy takes the bullet in the chest. To me THAT was the moment you cut the story.

    Trying to create more reader interest by then showing the sniper resighting on Tony is anticlimactic. It is just one of those things... you sign the contract and there is a clause in there basically saying if they take your work and make changes to it later on they have the full right to do it and they don’t even have to discuss it with you, and that has happened on a number of instances.

  • Q: Interesting. Fans have wondered what you had done and what changes have been done by editors or the present fill in writer Robin Laws in the first 2 parts of the Manhunt storyline.(ALERT POSSIBLE STORYLINE SPOILERS AHEAD!!!)
  • A: There is quite a lot of change. I specifically had a direction and a strong connection with the character Temugin. In point of fact, when we started the story my original perspective (the outline I had done when I originally took over the book) was a specific direction I wanted to go and I was preceding down that path. At the last minute, after all 5 issues were plotted the first episode written, it was decided that it had to be changed. For whatever reason something that I had planned all along got shot down and became an element we could no longer use, and that was fine… there were still aspects of the character Temugin that could still be done. But then as time wore on, editorially there were more and more changes done to the original outline.

    It then became a case of Temugin not only NOT appearing early in the book but maybe not appearing at all. I am not sure at this point what direction Manhunt will take. But his late appearance when I was still there made it seem like readers would ask, "Why is he even there?” When I started out Temugin was to be there early on, but when it finished off he wasn’t…

    It will be interesting to see if anyone follows through on my idea. It is there, it is out there, and if someone does follow on through with the original intent for the character, then folks are going to be really surprised. I have only seen the first issues, so I have no idea how much they have kept, how much has been lost, or thrown away. I did see they kept the underground train for S.H.I.E.L.D., which I thought was a little more practical that having this gigantic flying thing in the sky. Regardless of what kind of technology keeps it up there, it is going to create unwanted shade, wherever it is… just look for the big dark spot on the ground if you want to find it. I thought the train was a fun bit. Initially it had a lot more to do with the original plot.

  • Q: There was a piece of art that was commissioned by a fan, it was a variation of JLA #122 cover, it shows various DC and Marvel characters around a grave marker that was Captain America. The original cover it was the grave of Aquaman. Fans on Comicboards were wondering did you have something against Captain America? Or what was the reason for this variation?
  • A: It was a commission where the fan was very specific. He was a big JLA and Captain America fan. He told me who he wanted in there, what they were doing, it was very specific. What he was thinking, I can’t begin to tell you. If I recall correctly the commission came in not long after 9-11…If the guy has a political agenda I don’t know… but personally I love Captain America!

  • Besides the various comic related work Mike is involved in, he is also part of a fun group called Seattle Knights I have to believe this had some impact on why he chose to have Iron Man go on a Medieval Time travel mission a number of issues ago…check it out to see what they are about! He and his wife Lauri LaSabre also run a small horse operation called Excalibur Friesens… These are the kind of horses used in movie LADYHAWKE. Mike loves horses and spends lots of time on them when he can. I was a blast chatting with him, and I know his fans are anxious to see more of his work in comics!

  • For the place to discuss the interview check out the:
    Iron Man Message Board

    Warlord,Green Arrow and associated characters are copyrighted DC Comic Characters,Iron Man, and related characters are copyrighted by Marvel Comics, Sable and associated characters are copyrighted by Mike Grell.Commissioned pieces also by Mike Grell. - Your place to discuss comics