This month we turn our spotlight on writer/artist Timothy Truman, whose name has popped up more than once on this blog the last few months (he has worked often with Joe R. Lansdale and John Ostrander, both of whom we have also recently interviewed.)
Truman burst onto the comics scene in the early 1980s, when he and Ostrander co-created GRIMJACK for First Comics -a very influential title, which ushered in the "grim and gritty" movement that would dominate comics for the next decade. He has since worked on various comics, from TARZAN and CONAN to STAR WARS, as well as revamping the DC superhero Hawkman in HAWKWORLD. He has also created artwork for album covers and posters, doing several pieces for the Grateful Dead.
He has also been prolific in creating western and western-related comics, approaching the genre from several different angles. With Lansdale he produced several Jonah Hex "weird western" miniseries in the '90s, as well as a Lone Ranger miniseries. With Ostrander he created THE KENTS, a long miniseries following the western adventures of Superman/Clark Kent's adopted father's ancestors.
His 1985 series SCOUT was a dystopian, futuristic sci fi comic whose hero was an Apache. His two-part graphic novel about Revolutionary Era renegade Simon Girty won much critical acclaim; he also did a graphic novel adaptation of Allen Eckert's outdoor play TECUMSEH!
More recently, with his son Benjamin Truman, he has introduced HAWKEN- an aging Wild West hired killer who is haunted by the ghosts of everyone he has killed. Literally.
Timothy Truman has agreed to answer some questions for us today.
1. Simon Girty: Renegade was a very powerful work, and an unusual
subject choice. What can you tell us about it, and why you chose Girty?
TIMOTHY TRUMAN: Growing up
in West Virginia, along the Kanawha River and Ohio River country, Simon
Girty was a historical figure that we used to read about in our state
history classes. he was always described as
a deplorable traitor, cutthroat, and lawless renegade. However, in the
1990's I started reading a lot of historical fiction and happened upon a
book called the Frontiersman by the late, great Allan W. Eckert. Girty
figures into the story as a secondary characater--
a friend of the great Ohio Valley scout, Simon Kenton. Allan's painted
Girty as far more sympathetic and likeable person than the version of
him I'd grown up hearing about. I became fascinated with Girty and
decided to research his story. The more research
I did, the more I saw how unfairly he'd been treated by American
history. So I became determined to tell a more truthful history about
the man. As a result of the work I did, many other people began
reexamining his reputation and his place in history. His
relatives in Canada and the U.S.A. even made me an honorary "cousin." So
I'm very proud of the Wilderness graphic novels, to say the least.
2. How did you come to adapt the outdoor play Tecumseh! as a graphic
novel?
TT: Through the relationship that I established with Allan W. Eckert,
mainly. I got to know Allan through my Wilderness work. He was very kind
in suggesting some reference materials I might want to check out. We
became friends. Allan was the writer of the
Tecumseh!
outdoor drama in Chilicothe, Ohio. Anyway, we thought that doing a
graphic story adaptation would be a really cool thing to do. The
promoters of the play were all for it. We made a deal with Cat Yronwode
and Dean Mullaney at Eclipse Comics, and the graphic
novel happened. As a result of the graphic novel and the research on
frontier and Eastern American attire that I had to do for it, I was
asked to redesign a lot of the costuming for the drama a few years after
the graphic novel was published. All in all it
was a really rewarding experience. I just wish I could go back and
redraw all that stuff! I'm such a better artist these days! My style has
changed a lot.
3.
Native American Indians figure prominently in your work, as do
frontiers -even in some of your science fiction. Do you have a
particular attraction
to those themes, or did it just work out that way?
TT: I'd always been interested in Native American history and culture,
even as a kid. I suppose it sprang out of stories I'd heard growing up
about my great grandmother, Belle Truman, who was a Cherokee full blood
who was raised in Kentucky. I've since learned
that the stories were true. Anyway, the older I got, the more interested
I became in Native culture, especially the Southwestern and Ohio Valley
people.
4.
You've been credited with helping launch the "grim and gritty" trend in
comics in the early 80s. Why do you think so many other writers and
artists
followed your lead in this regard?
TT: I think it was a genre whose time had come. Remember that I was
there in the beginning of the 1980's "independent" comics scene. The
Indy movement was itself largely inspired by the '60's Underground and
'70's-'80's European comics movements-- a fact that
is unfortunately overlooked in most histories and documentaries about
American comics. When we started doing creator owned stories and
characters with the independent publishers, we gravitated towards
creating material that was akin to the stuff people were
doing in "respectable" mediums such as novels and film. Still, for the
material to be successful, it had to retain the action and more
colorful, fantastical elements of comics, at least early-on. So it was a
marriage of mediums, of sorts. Guys like me who
enjoyed action films, science fiction and the like in the films and
fiction we liked started doing our "movies on paper". We proved it was
possible and viable to own or co-own our own characters and get a fair
share of royalties for the books and any merchandising
or film that resulted from them. A few years later other folks got
interested and started doing the same thing. Major publishers like DC
and Marvel had to start offering creators better contracts. And
"mainstream" folks like Frank Miller and the Image guys
started jumping ship and getting better deals for the work they were
doing.
5. Your series Scout
blended westerns with post-apocalyptic sci fi, and Hawken and Jonah
Hex blended
western with horror. Why do you think the western genre can be
stretched into such diverse shapes, and yet still feel "western"?
TT: It's a question of environment and atmosphere, I guess. Westerns
speak to all of us. It involves certain character types and arch-types
that are exciting to explore, whether you're a creator or a reader.
There's an old adage that westerns are the American
mythology, and I think that's true to a great extent. Myths are a
reflection of history and culture. Westerns tell us a lot about America
and Americans and are fertile ground for seeding stories of all types.
In many ways, just giving a story a Western flavor
or ambiance does about a quarter of the work for a writer or artist. It
kind of "places" what it is you want to do. Of course, the most
interesting stories take the tropes and expectations of the Western
genre and play with them-- turn them on their heads,
open them up, re-examine them. So mixing Westerns with other genres is
probably an offshoot of that impulse. That was certainly the case with
Scout, Hex and
Hawken. Sometimes it works, sometimes it doesn't. I and the people I've worked with have
been pretty lucky in that regard, I suppose.
6.
We've recently interviewed John Ostrander and Joe R. Lansdale, both of
whom you have worked closely with. Can you tell us about your
professional
relationships with them?
TT: They are like brothers to me.
We're very, very close. John, Joe and my son Ben are my writers of
choice if I'm not going to write a story myself. We operate on the same
wavelength in many reagrds, yet we're also very
different from each other. We each can bring new colors to the final
mix. As far as John and Joe go, they're both very different from each
other. We get into these gabfest story conferences to figure things out.
Ideas fly like mad-- hot and heavy. Then we do
our work and bring our differences into play. Since there's a lot of
mutual admiration and respect there, we each trust what the other is
going to do. The funniest thing about working with Joe and John is the
fact that I handle their stories quite differently.
For one thing, John and I work "Marvel" method-- plot first, then art,
then John scripts what I've drawn. We've tried it a few times full
script, but have found that the so-called Marvel method is the way we
work best. It makes for a better mix. With
Joe and me, it's the opposite. Full script all the way-- mainly because
that's the way that Joe insists on working. Also, Joe is a really wild
writer. Given the material I've done over the years, you might be
surprised to know that I'm a tad more mild-mannered
in the kinds of material I like and the types of things I like to
portray. So I usually end up turning things down a notch for Joe, just
to stay comfortable with my own sensibilities. With John, it's the
opposite: John is more mild-mannered than me. So as a
result I find myself turning up the wildness and violence factor about
20% in the stories we do. As far as Ben goes, we're pretty much on the
same wavelength. The only difference is that I prefer to do characters
who have some sort of nobility or redemptive
qualities about them-- damaged angels, if you will. So we've learned to
meet in the middle in that regard.
7. Of all the western characters you've worked with, have you had a favorite?
TT: Kit Hawken, without a doubt.
So far he's my favorite character I've ever drawn. He's the only
character whom I've drawn six entire issues of and still wanted to go on
and do more, more, more. I've loved them all, but
Hawken is the best, and I'd love to continue his adventures someday.
There's so much more to tell! Ben and I are putting together a new
Scout project though,
Scout: Marauder, and it seems like it will have just as much energy to it.
If you could choose one fictional or historical character you haven't done that you'd like to do, who would it be?
TT: Fictional? Hard to say. I'd really like to do a real crime drama one
of these days-- some sort of hard-boiled thing. It might be via prose: A
few years back I started writing a detective novel set in West Virginia
in the 1920's-- constructing my own genre
of "Appalachian
Noir", as I call it... and I'd like to get back
to that. But it would be great to draw some crime stuff, too. I got a
big taste of it when I was drawing plates for the box set by late Irish
guitarist Rory Gallagher which just came out
this month,
Kickback City, where I got to do pulp crime style
illustrations for a short story written by best-selling author Ian
Rankin. As far as historical charcaters go, I've always wanted to do
the story of turn-of-the-century labor activist Mother
Jones. She is a fascinating woman-- a real hell-raiser, way ahead of her
time. I love her so much. That woulod probably be better done as a
screenplay than a comic, though. Anyway, it's a dream project I'd love
to be able to take some time off and get into.
8.
Not a western question- but I never thought an artist could approach
John Buscema as the definitive Conan artist, and in my mind you have
done so.
You have said that the (very western-like) Robert E. Howard Conan story
"Beyond the Black River" sums up the theme of the character: that "the
powers of civilization will always end up praying for a man with a
sword." Do you think this helps explain the enduring
(though vacillating) popularity of the western, as well?
TT: To a degree, sure. Sounds good, for certain types of Westerns. Call it the High Noon syndrome, I suppose? Of course, there
are some great tales that explore what happens when you pray for that guy and he finally comes: I'm thinking of The Unforgiven
here, and a few others. Just goes
to prove what I was talking abuot earlier: take the genre, turn it's
conventions inside out, and fish through the guts awhile with your bare
hands. You'll find a story that's worth writing about or drawing.
9. Do you have any recent or upcoming projects you'd like to make us aware of?
TT: The two that I mentioned above: The Rory
Gallagher box set that just came out. That was a really cool project to
be involved with, since I'm such a Rory Gallagher fan, and also because
of the fact that there's
never, ever been anything like it ever done.; And the Scout: Marauder
project that one of my publishers has asked Ben and me to work up a pitch
for. That's really exciting. I've wanted to return to the Scout saga
for a long time, and people are always asking
me when I'm going to get back to it. So it seems the time has come. Stay
tuned!
Visit Timothy Truman's website and order some of these great books!
www.timothytruman.com
Many thanks to Tim for visiting us today!
-Troy D. Smith
Let’s start with our debut anthology WISHING FOR A COWBOY. We were so fortunate to have such wonderful contributors to this collection! Phyliss Miranda, Tanya Hanson, Sarah McNeal, our own Jacquie Rogers, Tracy Garrett, reviewer Kathleen Rice Adams, Livia and me. This short story grouping is western historical romance, in the sweet to sensual category. All the stories mention a certain holiday food, and the story is either built around the food or can just bring it up casually. The recipes will be included in the back of the book, so there'll be lots of great eating! WISHING FOR A COWBOY was (surprisingly!) available early, as of yesterday, October 29 rather than the planned November 1 release date. It is available in print and digital formats—it’ll make a great Christmas gift for anyone!
Our next anthology, HEARTS AND SPURS, will be available on January 15, 2014, for Valentine’s Day gift-giving and reading for those who want to “self-gift.” We were thrilled to have every one of the above authors sign up once more for this anthology as well, and we added another author, Linda Broday!
Also in the mix, one of our anthology contributors, Tanya Hanson, has a brand new inspirational historical western romance, CLAIMING HIS HEART, coming out this month, and we’re all very excited about this one…because she’s talking about a sequel!
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