Michel Fiffe interviews artist Trevor Von Eeden for the latest Comics Journal, and his LJ includes outtakes and a generous helping of art to show what makes Von Eeden such a noteworthy figure. There’s also lots of juicy comic book history:
MICHEL FIFFE: Your last and most extended run on any title was Black Canary from ’91-‘93, which was on one of the only female-led comics of its time. You were paired up with yet another relative newcomer, writer Sarah E. Byam. Considering your longer than usual stint on that title, what was the creative process for you and Sarah during her first big break?
VON EEDEN: “Same as in all of my work for DC Comics — little to no direct communication with the writer at all. I believe that Sarah Byam called me once or twice, and we spoke briefly over the phone, but my work at DC Comics was never collaborative in nature. I was interested exclusively in doing the work, not in ‘networking’. I picked up a script, went home, drew it, and then handed it in. That’s it. Thriller suffered when my creative fire, my enthusiasm, was doused after the ‘chair collapsing’ stunt that the DC editor had tried to pull on me. Although to this day, I still don’t remember who’d sat behind that desk, insisting over and over again that I ‘take a seat’. Maybe Alan Gold would remember, since he’d ended up literally ‘taking the fall’.
An excerpt of the TCJ interview is here.