Post by jainitai on Jun 21, 2005 8:25:32 GMT -5
So here's the transcription of the interview I taped with Tim back on June 3rd at the Wizard World Philly con. Some of the words were hard to hear due to all of the background noise and loud speaker announcements, so anything that I was in doubt about I put a question mark next to it. But for the most part it's pretty clear and straight forward.
It's funny when you see Tim just sitting there with his head buried in a sketch and you think he's so shy and quiet, but then when you really start talking to him he can just talk and talk!
I hope you all enjoy this conversation as much as I did. It starts off in mid-thought, because as Tim was talking I stopped him and asked if I could record it, because I wouldn't remember everything he said. He joked that he wouldn't remember what he said either. So here it is:
Tim: …The key element right now, especially with the ending of Faust, is the relationship between Faust and M and a lot of that is based on the father figure and the father/son relationship. The whole, you know, “There was so much promise for you as a child, but now look at you. You’re a disgrace. What would ever make you think you can out do me, your father?” And the father aspect comes in with David’s own relationship with his dad, my relationship with my dad that I never knew. So we want to use this theme and dramatize it for subject (?), of how did we deal with these things, the father I never had, and I try to put my ideas in to it, so everything…and you know, I was never looking, which is surprising, but I was never looking for a father figure per se, from older people. I looked at it just from through my brother and I became kind of disappointed, because I knew I didn’t want to be my brother. I just saw things as, “What is Joe?” Joe taught me so much stuff, but it’s also, “Wow” and that’s what you look at in the sense of your father. You have to look at, “Well, I don’t just want to be my father, I want to be myself. I don’t want to be just my mother. I want to take what they taught me and make my own decisions” and that’s what basically this is. He makes his own decisions, Faust does, as to which way he wants to go, of what he has to do, along with everyone else. But it’s saying that what’s going on here is wrong and as much as John wouldn’t mind seeing the end of the world come he just doesn’t like the fact that M’s doing it. There’s a lot of spite with him.
Jai: In the comic book it doesn’t really explain where Faust and M meet. It seems very ambiguous.
Tim: It’s ambiguous, right, but you know that M was the one that created Faust. We never really had a definite, actual origin issue. There’s hints of it.
Jai: So Faust wanted to get out of the deal?
Tim: Well he felt that he was starting to get stronger and better than M and that he could break away from him, that he didn’t need him, that he had the power now at that time in his life. And M said, “Well fuck you. No you don’t.” So he just figured M would…even as the movie did it, he fucked with him. He buried him alive, which drove him nuts. And the next part was that he was able to escape from being buried alive and then he was in the insane asylum and that’s where it all comes about that he finds that his self being is through what he finds with Jade who he finds help through and again in some of the paintings he would do. It’s really complicated. There are under tones of the story that I don’t even know that probably won’t ever be explained.
Jai: Did he actually die when he was buried and then came back from the dead?
Tim: (I don’t know if Tim understood my question, because I couldn’t understand his answer!) No he can die again. We’ve never had it where he gets shot and…well I mean he gets wounded and bleeds, but there is a supernatural basis to the idea of demons and the devil and him and the comic. So it’s not totally, totally natural.
Jai: Is that what’s going on at the end of 13 where all of those demons are swirling around him? Are those souls that he’s killed?
Tim: Yeah, he changes. Well yeah, it’s all of the souls that he’s killed…but he’s been seeing those throughout the whole series, demons and what he has done before…and the way that M has changed constantly through this…M has gone though a number of changes, at least physical and it’s all based off his using and becoming and playing (?) and he always knows he has a way out somewhere. Basically M is just trying to make people live up to the fact that we should have stuck with God, you know…we would have been much better as animals living in Eden (laughter) and…
Jai: That’s what M’s trying to do?
Tim: In a certain way, at least in my thinking, a lot of it is like that. It hasn’t been set out like that, but if you look…a lot of it goes back to the basis of M’s hatred for God because God looked (?) at humans more than the angels, the whole story of the decent of Lucifer and all that shit. So some of it is that M’s just pissed off that man’s fucked up so much and he’s letting himself be fucked up, by him even. So he says, “You cock suckers. Look how you’re so easily manipulated into doing what you do to each other!” and he loves it, he just loves it that he can do that. And yet he resents it in a certain way, it’s like, “Well if you hadn’t fucked up I wouldn’t have to do this, but who cares, let’s rock on! You want to know terror we’re going to find out…I’m going to make things terrible beyond your imagination, beyond human capacity, to the supernatural, to your greatest fears of what they can create.” So a lot of that is under tones of the story.
Jai: So how does the story end?
Tim: Well, I mean the movie somewhat explains that, but it just doesn’t end physically (?) that way.
Jai: I can’t remember what happens at the end of the movie…
Tim: Well there’s a baby involved, a pregnancy, and Jade thinks that it’s a way out, but it’s not. A lot of it is just playing (?) with M (them?), because anytime you…there’s a simple thing about the devil, the storyline of the devil is…the main problem with the devil is that it’s like a bad movie in the sense that “Man, he just talks too much! Fucking kill him!” Like anytime James Bond would get caught the bad guy always has to preach to him and James Bond gets away. That’s the main fallacy (?) with the devil: he just fucking talks too much! Why do you have to play at high and mighty (?).
Jai: How does Jaspers finally kill M?
Tim: They fight.
Jai: Do you already see all of this in your mind?
Tim: Oh, it’s already laid out on paper. The whole book is laid down on paper.
Jai: The whole thing?
Tim: Yeah and I’m inking the next one already and every so often I go and do some penciling on the last issue, so I’m not like, when it comes to it, I’m not like, “Oh shit, I gotta draw all of this right now!” So when I’m in the mood I draw it. And the main part of the last issue is that the very end part is about a ten page sequence after it’s all over and everything, there’s a resolution that I’m trying to make sure it works really, really well, character wise, picture wise, that it all…you know, so you don’t, the reader doesn’t go, “Oh it’s over, but this last part was boring!” It’s like that movie A.I., did you ever see that? The last twenty minutes you’re like, “Ehhh, I wonder what the fuck all this is about?!” And even though this last part is important I have to make sure that the characters are right and a lot of the script is going to be changed at this point that we were originally going from, because I come up with new stuff and I’m trying to get David to come up with new stuff, but David doesn’t…
Jai: New stuff as far as dialog?
Tim: Dialog and intent, you know…it’s like I was saying that things have been done so much that I have to look at it going, “Okay, as I’ve grown and where I’ve taken this idea, what is it? How do I define it as much as I can? Did I define it enough to where I’m happy with it so it doesn’t just peter out and…”, because no matter what there’s going to be stereotypical stuff in it, you know, you’re dealing with the devil. It’s just going to be there, but you want to make sure that it’s resolved and it’s not stupid. That’s the whole thing. But it’s a tough ending and I’m really worried about how it plays out.
Jai: That it might be anti-climactic almost?
Tim: Well I don’t think it will be and there’s actually some stuff I might have to pull out of it, because I keep putting in these themes of cataclysmic stuff happening and I’m like, “I don’t know if this will work. Do I really need to have this? Am I putting too much into it or trying to cover it up?” It’s just one thing after another where you can just let this part go and just breathe (?) without having to see this. But I also have to think, “Well you know, maybe I can leave it.” So right now it’s a matter of everything is in it that I felt like I wanted it, but now it’s a matter of do I need this? Do we need this sequence? Do we need this full page right here? So a lot of it is pacing now, to get it down to, you know…does it move right? Do I read it…like this one (Tim picks up Faust 13), it’s SO fast of a pace! I mean, this is a normal size comic. It’s 24 pages, I mean…
Jai: It’s like Tomokato was saying on the boards, that it seemed like a filler issue…
Tim: It is somewhat of a filler issue, because there’s only like three things that go on here.
Jai: And wasn’t Darrell saying that 13 was supposed to be the second half of 12?
Tim: Actually, yeah, this (13) was supposed to be part of 12 and also 14 and 15 all together. So all these parts were what was supposed to come out now (?), but the thing is that…
Jai: So 13 is like 12 ½ ?
Tim: Yeah…so the thing is that 13 just cruises. There’s no rest. There’s a rest a little bit here (the scene with the hobo guitar player in the park), then you get to this (the last page) and here he is and that’s it. See, the thing is that the last part of this whole story takes place, from 12 on, takes place in a very limited area, so you don’t see the outside world anymore, because it’s so focused now and John has become so focused and the characters are at a pinnacle of…their interactions become more tighter and tighter, so you know, there’s not a whole lot going on besides just them, but I like this, I liked it (referring to Faust 13). But yeah, it’s very fast, you have to know the characters to know what’s going on, it (the storyline) only progresses a little ways, but the whole, main thing about this was getting John where he’s at, knowing that he actually was defeated. He wasn’t going to stop the end of the world if it wasn’t for, right now, getting the help of other people.
Jai: So he’s actually killed in 13 right?
Tim: Pretty much, yeah. Pretty much.
Jai: Why does everyone say that the Faust/Wrath:777 crossover kind of explains or hints at the end of Faust: Love of the Damned?
Tim: They don’t know. No. Well it does in a way, you see that John is in a purgatory, but you don’t really know how he gets there yet and how M has to come through this outer world to come back. And that was pretty much just made up thinking we were never going to do Faust again, so Avatar said, “Well why don’t you do this?” and we were like, “Welllll…ummm…okay, I guess”. So we had to make it up, but Faust is actually just supposed to end.
Jai: (Inaudible…may have been a question about John giving up his own life or soul to save the world, like a self sacrifice).
Tim: Well no, but it’s already been fed (?) in a certain way throughout this story. In the storyline there’s really no one else who can stand up to him. The son has to stand up to the father and everyone is telling him that, “You have to do it” and he’s like, “Bah, I don’t give a shit…I don’t give a fuck!” and it’s like people have been saying, “Well if you don’t give a fuck about your self then give a fuck about others, give a fuck about the one you think you love” and that’s Jade and the father figure has taken her and is just using her, so that gets him pissed off too, it’s like, you know, “Fuck him!” And there’s a demented quality of…you know, it’s not a good father/son relationship going on here. He’s just trying to figure that out, but he’s the only one and the thing was that he couldn’t do it and that’s why it took people, through mishaps(?) and people that believe in him to go, “Come on, you have to do this!” But he’s transformed now, because he gets some of M’s “mojo juice”.
Jai: The real twist would be if the world actually ended.
Tim: Yeah, sure…we’ve thought of that, but, umm….(guy comes up to table to pick up his sketch). Were you the Death? I kind of made her not as goth looking. She’s a little decked out in contemporary. (The guy pays and leaves). But, uh…yeah, we thought about that…the world ending, but I didn’t want to do that. The hardest part though is keeping the world out of this because there’s so much that’s happening around the world right at this moment in the story, atrocities and weird shit is going on, that we can’t just…I don’t want to go out and show, “In Istanbul this is going on. In Australia this is going on. Etc.”, so you just get these hints in reports from the girl on the boat and you got to bring that back, you have to close it up. I hope it all comes out right. A lot of it is going to be in the way it’s written too, because I don’t have the words. I have the theory of how it’s going to go, like, “This is how it’s going to go” and “This is the way I’m thinking”, but I don’t have the exact words to move it and explain it to the people and that’s where David comes in…and that’s what I’ve been trying to get him to be. I tell him, “You’ve got to be more exact. You’ve got to answer questions!” That was the problem with this Jack the Lantern thing was that you have so many questions in this story: question after question after question…they need answers!
Jai: Kind of like that TV show “Lost”. Have you seen that? Every episode they just add more confusion and mysteries, but they never answer or resolve anything.
Tim: Yeah, it’s definitely lost, isn’t it? But there are certain things that are going to be left open, because that’s just the way humanity is. Not everything is going to be answered but…and there’s always going to be a “I wonder what…?” or a “What if…?” kind of a thing, but it’ll answer some stuff, but like I said, David has to write it in a context that we all understand, like the father/son theme and stuff like that. And that’s what it’s getting down to, that type of definition. In a certain way God and Lucifer were like that, the Father/Son. It’s like the dog got kicked here, so he went down and kicked the dog. The dog didn’t like it anymore. I don’t know. We’ll see. Keep working on it.
Jai: Who was that black guy?
Tim: He comes to a lot of conventions and always comes by. He gets all these sketches and he always gets them really big and he always says he gets them for free, but I never believe him.
Jai: (As Tim is sketching I ask this question) Do you see all of this in your mind before you start sketching?
Tim: Yeah, well…here it’s like, I want to have the Shocker twisting and zapping and Spiderman will be jumping. You just go with it. It’s just a sketch, a main idea, you know. That’s what sketching is: it just let’s me sit there and go, “Okay, how fast can I think, how fast can I see something”, without actually doing too many corrections. And if you notice, Faust’s claws are kind of like the Shocker’s.
Jai: Was that on purpose?
Tim: Yeah, actually he came from…he (Faust) started off as Batman and Daredevil, then got into…there was this other character in a Batman story that had these things on his mask (Tim motions with his hands the long side’s of Faust’s mask) that I took it from, then the Shocker’s little glove things. He’s definitely a vegetable soup (?).
Jai: I didn’t realize it was getting so late. Do you think you’d be able to fit my sketch in after this?
Tim: Yeah, sure. Actually let me start on yours now, because this guy is going to be here all weekend.
It's funny when you see Tim just sitting there with his head buried in a sketch and you think he's so shy and quiet, but then when you really start talking to him he can just talk and talk!
I hope you all enjoy this conversation as much as I did. It starts off in mid-thought, because as Tim was talking I stopped him and asked if I could record it, because I wouldn't remember everything he said. He joked that he wouldn't remember what he said either. So here it is:
Tim: …The key element right now, especially with the ending of Faust, is the relationship between Faust and M and a lot of that is based on the father figure and the father/son relationship. The whole, you know, “There was so much promise for you as a child, but now look at you. You’re a disgrace. What would ever make you think you can out do me, your father?” And the father aspect comes in with David’s own relationship with his dad, my relationship with my dad that I never knew. So we want to use this theme and dramatize it for subject (?), of how did we deal with these things, the father I never had, and I try to put my ideas in to it, so everything…and you know, I was never looking, which is surprising, but I was never looking for a father figure per se, from older people. I looked at it just from through my brother and I became kind of disappointed, because I knew I didn’t want to be my brother. I just saw things as, “What is Joe?” Joe taught me so much stuff, but it’s also, “Wow” and that’s what you look at in the sense of your father. You have to look at, “Well, I don’t just want to be my father, I want to be myself. I don’t want to be just my mother. I want to take what they taught me and make my own decisions” and that’s what basically this is. He makes his own decisions, Faust does, as to which way he wants to go, of what he has to do, along with everyone else. But it’s saying that what’s going on here is wrong and as much as John wouldn’t mind seeing the end of the world come he just doesn’t like the fact that M’s doing it. There’s a lot of spite with him.
Jai: In the comic book it doesn’t really explain where Faust and M meet. It seems very ambiguous.
Tim: It’s ambiguous, right, but you know that M was the one that created Faust. We never really had a definite, actual origin issue. There’s hints of it.
Jai: So Faust wanted to get out of the deal?
Tim: Well he felt that he was starting to get stronger and better than M and that he could break away from him, that he didn’t need him, that he had the power now at that time in his life. And M said, “Well fuck you. No you don’t.” So he just figured M would…even as the movie did it, he fucked with him. He buried him alive, which drove him nuts. And the next part was that he was able to escape from being buried alive and then he was in the insane asylum and that’s where it all comes about that he finds that his self being is through what he finds with Jade who he finds help through and again in some of the paintings he would do. It’s really complicated. There are under tones of the story that I don’t even know that probably won’t ever be explained.
Jai: Did he actually die when he was buried and then came back from the dead?
Tim: (I don’t know if Tim understood my question, because I couldn’t understand his answer!) No he can die again. We’ve never had it where he gets shot and…well I mean he gets wounded and bleeds, but there is a supernatural basis to the idea of demons and the devil and him and the comic. So it’s not totally, totally natural.
Jai: Is that what’s going on at the end of 13 where all of those demons are swirling around him? Are those souls that he’s killed?
Tim: Yeah, he changes. Well yeah, it’s all of the souls that he’s killed…but he’s been seeing those throughout the whole series, demons and what he has done before…and the way that M has changed constantly through this…M has gone though a number of changes, at least physical and it’s all based off his using and becoming and playing (?) and he always knows he has a way out somewhere. Basically M is just trying to make people live up to the fact that we should have stuck with God, you know…we would have been much better as animals living in Eden (laughter) and…
Jai: That’s what M’s trying to do?
Tim: In a certain way, at least in my thinking, a lot of it is like that. It hasn’t been set out like that, but if you look…a lot of it goes back to the basis of M’s hatred for God because God looked (?) at humans more than the angels, the whole story of the decent of Lucifer and all that shit. So some of it is that M’s just pissed off that man’s fucked up so much and he’s letting himself be fucked up, by him even. So he says, “You cock suckers. Look how you’re so easily manipulated into doing what you do to each other!” and he loves it, he just loves it that he can do that. And yet he resents it in a certain way, it’s like, “Well if you hadn’t fucked up I wouldn’t have to do this, but who cares, let’s rock on! You want to know terror we’re going to find out…I’m going to make things terrible beyond your imagination, beyond human capacity, to the supernatural, to your greatest fears of what they can create.” So a lot of that is under tones of the story.
Jai: So how does the story end?
Tim: Well, I mean the movie somewhat explains that, but it just doesn’t end physically (?) that way.
Jai: I can’t remember what happens at the end of the movie…
Tim: Well there’s a baby involved, a pregnancy, and Jade thinks that it’s a way out, but it’s not. A lot of it is just playing (?) with M (them?), because anytime you…there’s a simple thing about the devil, the storyline of the devil is…the main problem with the devil is that it’s like a bad movie in the sense that “Man, he just talks too much! Fucking kill him!” Like anytime James Bond would get caught the bad guy always has to preach to him and James Bond gets away. That’s the main fallacy (?) with the devil: he just fucking talks too much! Why do you have to play at high and mighty (?).
Jai: How does Jaspers finally kill M?
Tim: They fight.
Jai: Do you already see all of this in your mind?
Tim: Oh, it’s already laid out on paper. The whole book is laid down on paper.
Jai: The whole thing?
Tim: Yeah and I’m inking the next one already and every so often I go and do some penciling on the last issue, so I’m not like, when it comes to it, I’m not like, “Oh shit, I gotta draw all of this right now!” So when I’m in the mood I draw it. And the main part of the last issue is that the very end part is about a ten page sequence after it’s all over and everything, there’s a resolution that I’m trying to make sure it works really, really well, character wise, picture wise, that it all…you know, so you don’t, the reader doesn’t go, “Oh it’s over, but this last part was boring!” It’s like that movie A.I., did you ever see that? The last twenty minutes you’re like, “Ehhh, I wonder what the fuck all this is about?!” And even though this last part is important I have to make sure that the characters are right and a lot of the script is going to be changed at this point that we were originally going from, because I come up with new stuff and I’m trying to get David to come up with new stuff, but David doesn’t…
Jai: New stuff as far as dialog?
Tim: Dialog and intent, you know…it’s like I was saying that things have been done so much that I have to look at it going, “Okay, as I’ve grown and where I’ve taken this idea, what is it? How do I define it as much as I can? Did I define it enough to where I’m happy with it so it doesn’t just peter out and…”, because no matter what there’s going to be stereotypical stuff in it, you know, you’re dealing with the devil. It’s just going to be there, but you want to make sure that it’s resolved and it’s not stupid. That’s the whole thing. But it’s a tough ending and I’m really worried about how it plays out.
Jai: That it might be anti-climactic almost?
Tim: Well I don’t think it will be and there’s actually some stuff I might have to pull out of it, because I keep putting in these themes of cataclysmic stuff happening and I’m like, “I don’t know if this will work. Do I really need to have this? Am I putting too much into it or trying to cover it up?” It’s just one thing after another where you can just let this part go and just breathe (?) without having to see this. But I also have to think, “Well you know, maybe I can leave it.” So right now it’s a matter of everything is in it that I felt like I wanted it, but now it’s a matter of do I need this? Do we need this sequence? Do we need this full page right here? So a lot of it is pacing now, to get it down to, you know…does it move right? Do I read it…like this one (Tim picks up Faust 13), it’s SO fast of a pace! I mean, this is a normal size comic. It’s 24 pages, I mean…
Jai: It’s like Tomokato was saying on the boards, that it seemed like a filler issue…
Tim: It is somewhat of a filler issue, because there’s only like three things that go on here.
Jai: And wasn’t Darrell saying that 13 was supposed to be the second half of 12?
Tim: Actually, yeah, this (13) was supposed to be part of 12 and also 14 and 15 all together. So all these parts were what was supposed to come out now (?), but the thing is that…
Jai: So 13 is like 12 ½ ?
Tim: Yeah…so the thing is that 13 just cruises. There’s no rest. There’s a rest a little bit here (the scene with the hobo guitar player in the park), then you get to this (the last page) and here he is and that’s it. See, the thing is that the last part of this whole story takes place, from 12 on, takes place in a very limited area, so you don’t see the outside world anymore, because it’s so focused now and John has become so focused and the characters are at a pinnacle of…their interactions become more tighter and tighter, so you know, there’s not a whole lot going on besides just them, but I like this, I liked it (referring to Faust 13). But yeah, it’s very fast, you have to know the characters to know what’s going on, it (the storyline) only progresses a little ways, but the whole, main thing about this was getting John where he’s at, knowing that he actually was defeated. He wasn’t going to stop the end of the world if it wasn’t for, right now, getting the help of other people.
Jai: So he’s actually killed in 13 right?
Tim: Pretty much, yeah. Pretty much.
Jai: Why does everyone say that the Faust/Wrath:777 crossover kind of explains or hints at the end of Faust: Love of the Damned?
Tim: They don’t know. No. Well it does in a way, you see that John is in a purgatory, but you don’t really know how he gets there yet and how M has to come through this outer world to come back. And that was pretty much just made up thinking we were never going to do Faust again, so Avatar said, “Well why don’t you do this?” and we were like, “Welllll…ummm…okay, I guess”. So we had to make it up, but Faust is actually just supposed to end.
Jai: (Inaudible…may have been a question about John giving up his own life or soul to save the world, like a self sacrifice).
Tim: Well no, but it’s already been fed (?) in a certain way throughout this story. In the storyline there’s really no one else who can stand up to him. The son has to stand up to the father and everyone is telling him that, “You have to do it” and he’s like, “Bah, I don’t give a shit…I don’t give a fuck!” and it’s like people have been saying, “Well if you don’t give a fuck about your self then give a fuck about others, give a fuck about the one you think you love” and that’s Jade and the father figure has taken her and is just using her, so that gets him pissed off too, it’s like, you know, “Fuck him!” And there’s a demented quality of…you know, it’s not a good father/son relationship going on here. He’s just trying to figure that out, but he’s the only one and the thing was that he couldn’t do it and that’s why it took people, through mishaps(?) and people that believe in him to go, “Come on, you have to do this!” But he’s transformed now, because he gets some of M’s “mojo juice”.
Jai: The real twist would be if the world actually ended.
Tim: Yeah, sure…we’ve thought of that, but, umm….(guy comes up to table to pick up his sketch). Were you the Death? I kind of made her not as goth looking. She’s a little decked out in contemporary. (The guy pays and leaves). But, uh…yeah, we thought about that…the world ending, but I didn’t want to do that. The hardest part though is keeping the world out of this because there’s so much that’s happening around the world right at this moment in the story, atrocities and weird shit is going on, that we can’t just…I don’t want to go out and show, “In Istanbul this is going on. In Australia this is going on. Etc.”, so you just get these hints in reports from the girl on the boat and you got to bring that back, you have to close it up. I hope it all comes out right. A lot of it is going to be in the way it’s written too, because I don’t have the words. I have the theory of how it’s going to go, like, “This is how it’s going to go” and “This is the way I’m thinking”, but I don’t have the exact words to move it and explain it to the people and that’s where David comes in…and that’s what I’ve been trying to get him to be. I tell him, “You’ve got to be more exact. You’ve got to answer questions!” That was the problem with this Jack the Lantern thing was that you have so many questions in this story: question after question after question…they need answers!
Jai: Kind of like that TV show “Lost”. Have you seen that? Every episode they just add more confusion and mysteries, but they never answer or resolve anything.
Tim: Yeah, it’s definitely lost, isn’t it? But there are certain things that are going to be left open, because that’s just the way humanity is. Not everything is going to be answered but…and there’s always going to be a “I wonder what…?” or a “What if…?” kind of a thing, but it’ll answer some stuff, but like I said, David has to write it in a context that we all understand, like the father/son theme and stuff like that. And that’s what it’s getting down to, that type of definition. In a certain way God and Lucifer were like that, the Father/Son. It’s like the dog got kicked here, so he went down and kicked the dog. The dog didn’t like it anymore. I don’t know. We’ll see. Keep working on it.
Jai: Who was that black guy?
Tim: He comes to a lot of conventions and always comes by. He gets all these sketches and he always gets them really big and he always says he gets them for free, but I never believe him.
Jai: (As Tim is sketching I ask this question) Do you see all of this in your mind before you start sketching?
Tim: Yeah, well…here it’s like, I want to have the Shocker twisting and zapping and Spiderman will be jumping. You just go with it. It’s just a sketch, a main idea, you know. That’s what sketching is: it just let’s me sit there and go, “Okay, how fast can I think, how fast can I see something”, without actually doing too many corrections. And if you notice, Faust’s claws are kind of like the Shocker’s.
Jai: Was that on purpose?
Tim: Yeah, actually he came from…he (Faust) started off as Batman and Daredevil, then got into…there was this other character in a Batman story that had these things on his mask (Tim motions with his hands the long side’s of Faust’s mask) that I took it from, then the Shocker’s little glove things. He’s definitely a vegetable soup (?).
Jai: I didn’t realize it was getting so late. Do you think you’d be able to fit my sketch in after this?
Tim: Yeah, sure. Actually let me start on yours now, because this guy is going to be here all weekend.
