03/12/08
Text: Bryan Hood, Nik Mercer
Jamie Hernandez, along with his brothers Gilbert and Mario, have been publishing their unique comic novels under the umbrella title, Love & Rockets, for well over a quarter century now, and recently began receiving a tremendous amount of acclaim from outside the comic niche within the literary tradition.
Love & Rockets has been on Fantagraphic Books since its inception, and shows no signs of sputtering out or wavering. Anthem asked Jamie a few questions about his history as an artist and author, his newfound recognition, and forthcoming releases.
What was it that motivated you and your brothers (Gilbert and Mario) to start working on Love & Rockets in the first place? Was it more a love of comics or an urge to tell your own stories?
Both. Gilbert and I were making comic stories basically for ourselves not really knowing where they would end up till one day Mario approached us and said he had a friend who could help us print our own comic. We haven’t looked back since.
What attracted you to the comic book medium?
Comic books were one of those things I was basically born into. Our mother being a comics fan herself as a kid actually encouraged Mario to buy them. Comics went alongside T.V., monster movies, and the Beatles in our home.
Do you feel that comic books allow you more freedom in how you portray your characters in comparison to other creative mediums?
Oh, yeah. Alternative comics anyway. Besides, they cost almost nothing to make. I mean the creative part.
Do you face more or less obstacles than artists in other mediums?
I couldn’t really say but it sure seems like less.
Your early stories have quite a few sci-fi elements but they disappear almost completely around the time of “The Death of Speedy.” Was there any particular reason for this growing sense of realism?
As our comic took off, of all the stuff that was going on in my stories, characterization was the main thing I was interested in and the more I wanted to make my characters seem real the sillier the SF stuff felt. Also, I felt the stuff happening in my own life (Lowrider and punk culture) was more exciting to me than what was going on in most comics.
What roles do race and culture play in the lives of your characters? Do you feel that their race is vital to the stories you are trying to tell?
I believe it’s most vital. It’s who they are.
If you were of a different ethnic background, do you think your characters would be different as well?
I hope so. Not too many ethnic comics out there so I feel it’s my duty to handle my part of it.
How do you feel about the characters you’ve created? Is there anything you wish you had done differently with them?
I think I would have had some of them settle down and create families at an earlier stage in their lives. It sounds corny, but that’s what a lot of people do eventually, even the deranged ones.
Aside from Maggie and Hopey, what character or characters are you most proud of? Which ones are the easiest to work with and why?
I really love two of my newer characters, Angel of Tarzana and Vivian the Frogmouth. Vivian I can write blindfolded. Her sassy, spontaneous, obnoxious, difficult, sort of loser type of character has nothing to lose and those are always the easiest and funnest to write. Angel is easy to write as well, but on a different level. In her case, I needed someone more agreeable and supportive. Sort of like a Maggie that is more physically able.
Maggie has dealt with the issues of identity throughout Locas, something that has obviously struck a chord with your audience? What has pushed you to focus on these issues?
I don’t really know, I suppose because it has happened to me on occasion.
Especially early in your work, music—particularly the early 80s Southern California punk scene—has played has played a key role in the lives of your characters. Why have you placed such an emphasis on music? Is music as important to you as it is to your characters?
It sure was at the time I started writing these characters so it made sense to put them right in the thick of it. It also helped that almost none of that particular scene was portrayed in comics or anywhere else (unless you count QUINCY, CHiPS or CPO SHARKEY) so we sort of made it our duty. To portray it truthfully, that is.
Although under the same Love & Rockets banner, your brother Gilbert’s work is quite different from yours, yet maintains a similar feel. Has it been important for you two to work together, but still tell your own stories?
People have told us both of the works compliment each other being side by side so who am I to argue?
You and Gilbert have been publishing Love & Rockets for over twenty-five years now? Do you feel that working with your brother is a major reason for this?
It could be. I’ve never had any regrets.
Would either of you be working in comics if the other were not? Back at the beginning? Ya got me.
I'm fascinated by how the reading public still approaches comics with skepticism. Comics tend to be ghettoized (just as science fiction, horror fiction, crime fiction, and fantasy are) rather than just read. Even the best writers are treated with condescension. Use of the phrase “graphic novel” hasn’t seemed to have helped. What would it take for them to “break out?” And, frankly, should we care? Should we just stop fretting about it, read the books with pleasure, and ignore the critics?
Part of me wants comics to be respected as a legitimate art form, the other part of me wants to be left alone so I can have fun drawing comics for my fans.
Recently, many comic creators—including you—have been working on non-comic projects, namely illustration. Chris Ware does a tremendous amount of “design” work; Adrian Tomine does a lot of illustration for highfalutin publications like the New Yorker (as does Joost Swarte); Dan Clowes, Seth, and many others work on mini-series stories for the like of the New York Times... what do you think has brought on this increased demand for cartoonists' work outside of their “home turf,” personally and broadly speaking?
Somewhere along the way I think alternative cartoonists kinda became the hip thing. Maybe they’re easier to work with than other types of artists?
Is it a beneficial thing for comics?
I’m sure there are some who believe they can gain more respect working in a “real” medium. I do it because it’s faster money and pays better than comics.
What are the things you would change about the comic production process if you could? You and Gilbert originally worked with oversized books and now print your work in normal-sized comic form; you released Locas as a huge, heavy coffee-table book. You seem frustrated with the archetypical comic but unsure of how to meld it to your needs.
The different sizes have sometimes been purely financial moves. You know, going with the flow, following the trends of this comic biz.
Pacing is integral to a good comic and something that only the masters can do well. What, to you, does “pacing” really mean, and how do you pace your books and for what ultimate purposes?
Pacing creates mood. If it’s done right it can put the reader right in there with the characters, feeling the same things a character is feeling.
Why do you think the vast majority of acclaimed “independent” comics are written in a memoir style? From R. Crumb to Gabrielle Bell to Chris Ware to Chester Brown, “indie” comics tend to be written from the vantage of the author, about the author. Why, in your opinion, is this the trend?
They must really be in love with themselves.
Furthermore, why do you not ascribe to it?
I dunno, I guess I’ve always enjoyed using my imagination more than putting my boring lame ass on the page.
