[ Futureal Studio ]
[ About ][ Films ][ Follow us on facebook ][ Follow us on Twitter ]

futurealstudio.com > Films > AIDC > Interviews > Hunt Emerson

Hunt Emerson Interview


[ Hunt Emerson ]

This interview with comic book writer and artist Hunt Emerson was conducted by Director Sebastien Dumesnil via email during the editing of Adventures Into Digital Comics. This interview is a part of the second set of interviews, which means that Hunt Emerson was asked to answer questions accordingly to the final cut of the movie.

Can you tell us about your background?

Born 1952, Newcastle on Tyne, UK. First began drawing comics seriously in 1972/73 when I saw American undergrounds by the likes of Gilbert Shelton and Robert Crumb. I have published 20 or so comic books with Knockabout Comics, and a few more with other publishers.

In the film, we discuss the nature of comic books. Can you tell us what, for you, a comic book is? What are the strengths and ideas you like or intend to explore?

For me, comics are funny. They can deal with Serious Ideas, but in my opinion rarely work as a Serious Medium.

What can you find in comics that you wouldn't find in another type of visual exercise?

I like seeing good drawing, and I like being able to follow stories and jokes at my own pace. But I prefer reading a book.

Can you talk a little bit about the comic book market in the UK? How diverse is the production? Is it difficult to get published?

I don't think the market is very good in the UK, but I don't have a lot of information about it. I don't often buy or read comics.

In contemporary comics, storytelling tools like thought balloons or captions are mostly absent. As an example, John Byrne told us he stopped using captions when he realized that readers did not read them. Do you think that writers have a tendency to find their style in movies instead of working on the specific strengths of comics?

Sorry, don't know.

In the 90s, we saw the rise of digital lettering and coloring. Nowadays, there's even this new trend of digital inking that people like Tim Townsend dislike a lot. What do you think about the use of these digital tools in the making of print comics?

Computers are a tool and must be used as such. They cannot be ignored. Digital lettering and colouring is fine by me, but digital inking, or what I've seen of it, feels sort of unfinished, scratchy. But I haven't seen much of it. I wasn't aware it is being widely used.

Nowadays, would you say that printed comics are for kids, for grown-ups or for everyone? Is there a stigma attached to the pamphlet?


Some webcomics use animation, others sound, and other tools. To you, what is a webcomic? Is there really such a difference between print comics and webcomics?

I have seen very little webomics—possibly none. I don't spend much time on the internet.

In the film, artists like Patrick Farley and Cat Garza say they make webcomics because publishers would not touch their work, because it's too offensive, different, etc. As an example, Patrick talks about his Apocamon webcomic, a Manga style rewriting of the Book of Revelations. Do you think that the Internet could be the next logical step of the comic book for artistic or business-related reasons?

If there is a way of making money by doing comics for the internet then it will become viable. Until then it is a hobby.

Do you think that the tactile experience of holding a book in your hands is necessary to the comic book reading experience?

It is for me. I hate reading comics (and text) on screen. My eyes aren't up to it anymore.


Copyright 2013 Futureal Studio. All rights reserved.