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mostlysignssomeportents · 4 years

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After more than a decade, Cecil Castellucci and Jim Rugg's YA classics The Plane Janes are back!

[I adored Cecil Castellucci and Jim Rugg's YA graphic novels The Plain Janes and Janes in Love, which were the defining titles for the late, lamented Minx imprint from DC comics. A decade later, the creators have gotten the rights back and there's a new edition Little, Brown. We're honored to have an exclusive transcript of Cecil and Jim in conversation, discussing the origins of Plain Janes. Make no mistake: this reissue is amazing news, and Plain James is an underappreciated monster of a classic, finally getting another day in the spotlight. If you haven't read it, consider yourself lucky, because you're about to get another chance. -Cory]

Cecil to Jim: How interesting or difficult was it for you to go back to match a style from 11 years ago?

Jim: It was impossible!

When I started drawing Janes Attack Back, I was so anxious. You can’t unlearn how to ride a bike and a lot of my style from 11 years ago included my limitations as an artist. I hope I’m much better now than I was then. But when it comes to style, I just couldn’t quite do it the same. After a page or two, I stopped trying. I figured that as long as the character designs, grayscaling, and lettering were consistent that it would be a 90 percent match. Combined with the different ink colors, I think it flows pretty well. But it was definitely tough to figure out in the beginning.

It was interesting for me to revisit the original art and to get back into characters that I had spent so much time with, but that was over 10 years ago. It was a very strange feeling in my head. Nostalgic but also filtered through thousands of pages of progress since I drew the first two books. It was like studying a different artist, trying to get back to that style.

How much of an issue was this from a writing perspective?

Cecil: It was the same!

When we first did Plain Janes it was my first time moving from prose to comics and I remember that I called you up crying once because moving the story from panel to panel was so difficult to figure out at first. Comics is not prose! But now I have a better understanding of comics and I would write those books way differently now. So it was hard to go back to being more naive. But it was an interesting challenge for sure.

Cecil to Jim: We had sort of hammered out this story as a four book thing back in 200. For Janes Attack Back, we compressed. Is there anything that we left out that you kind of wish we’d been able to keep?

Jim: I’m very happy with how this turned out. I remember we planned to have the Janes all go their separate ways for the summer. I think you did a terrific job compressing that. We still see them do their own things and drift apart. I like these characters so our original plans were fun--seeing them on their own allowed a different side of them to emerge.

But I think the story works best in this final version. I don’t miss the longer solo adventures. Although I refer to the Janes as my X-Men, since they are a team, and team books often have spinoffs where characters have solo adventures. So maybe a longer solo adventure would be fun. I did draw quite a bit of Brain Jane at space camp many years ago! But overall, I say no. I’m so happy with this final story that I don’t regret anything we cut to make this final story! Who knows, we could always follow the Janes as they go off to different colleges and post high school adventures...

Cecil: I’m glad I have those Brain Jayne space camp pages. But yeah, I don’t miss their solo stuff. I’m glad that we just really follow Main Jane. But it’s interesting because I think that kind of goes with the question above. I think writing that whole Janes Go Summer was the book that I would never write now because I’ve learned that you can just go to the next best part and you don’t have to tell every part. Like moving time from panel to panel.

Cecil to Jim: What was the hardest thing to draw? And which art attack did you love the most?

Jim: Not exactly an art attack, but I think my favorite art thing was when Jane visits the museum in France and she appears in several paintings. That was fun to draw, but also it fit the story perfectly. As a cartoonist, that’s the best I can hope for--when the art gets to shine within the context of the story. That moment feels magical to me--in terms of both the story and the art.

Does the school dance count as an art attack? I like flowers so when the gang covered their dresses in flowers and Brain Jane hit them with a spotlight, that was something I enjoyed drawing.

Cars are hard to draw. Kissing is hard to draw. Crowds are tough. Perspective...I could go on and on!

Jim to Cecil: Craft--is there a difference between writing a novel and writing a graphic novel? If so, what are those differences?

Cecil: There are more words in prose. That seems obvious, but it’s a big deal because that’s what you paint your pictures with. So you can really dive into the minutiae of a moment but it’s very different than with comics where you dive into a moment because you are really dictating what you want the brain to pay attention to. And you have to really understand that each reader is going to have a wildly different understanding of what that picture should be. In comics, it’s right there. So you can be very specific and focused and the words are not really important. They are but I throw out a lot of them.

I think I over-write my script as a scaffolding for you, the artist, so you don’t have to do all the mental heavy lifting. But the best thing about comics is the throwing out of words. And silence. You can use words to describe silence but it’s still very busy and loud. But in a comic, a silent page or panel speaks for itself, and you can have a pause and rest that you can’t have in prose. I love writing both and that is why I really think that a story tells you how it best wants to be told. Because prose and comics have different gifts in terms of telling the tale.

Jim to Cecil: I sometimes describe The PLAIN Janes as my X-Men comic since it is a “team” book. So I’m curious if you have a favorite character in The PLAIN Janes?

Cecil: Oh! That’s so hard! I mean of course it is a team book and I love that you always referred to it as an X-men comic. They are superheroes in my mind; each overcoming things inside of them and bringing their own special skill to solve a problem.

But it’s too hard to pick which one I love! I mean, I identify with all of them for different reasons at different times. I guess that is what makes a good team. But I do have a soft spot for both Brain Jayne and Theater Jane. I think that they both have such distinct voices and points of view that they were fun foils to write for Main Jane.

Do you have a favorite?

Jim: I love Theater Jane’s exuberance! And of course there are things I love about all of them. Good job on giving them unique traits and personality. But I would say in the end, I enjoyed Payne. She was a foil and heel and that brought the best out of all of the Janes. She was like a mirror that forced the Janes, especially Main Jane to really think about her values and what she wanted to do in her art practice. We had talked about Payne for a decade. Seeing her in action and seeing Main Jane play off of her was the best. Plus her anger at the status quo is something I remember feeling as a teenager.

Jim to Cecil: Write what you know, right? With that in mind, what parts of The PLAIN Janes are closest to your own personal experiences/truth?

Cecil: Yes. Although the apple doesn’t fall far from the tree, of course it is put through the ringer and shook up to come out as something very different. Like Main Jane, I was in a bombing when I was young. The IRA blew up a stage where the British Army band was playing. I was in the most damaged house, a beer museum. A window shattered above me and it was very scary. (I write about this incident in my memoir, Girl on Film).

I remember the next day, my family took me to an art museum and there were huge skylight windows everywhere, and I thought they would explode down on me. So I kept focusing on the art. And so while no one was injured in the attack that I was in, and I did not find a John Doe, I certainly found solace in art when I most needed it.

Another thing that came from my life directly was just engaging in street art and loving conceptual art. How that kind of art can say so much and be so profound. I’ve talked before about walking through subway stations filled with Keith Haring chalk drawings in the 80s and that being so inspiring. That idea of art being everywhere and being a delightful surprise. The core truth of The PLAIN Janes is that ART SAVES. That is probably the most true thing I believe.

How about you? Was there anything that you brought to the book that was close to your experience or truth?

Cecil: I was an art kid in school, so that made sense. And also the feeling, like I was an outsider and wanted more than school and a small town could provide. Some of the art class stuff brings back memories. The biggest thing for me were the friendships. The way the Janes pulled for each other and supported each other as they followed their own interests. I’ve been lucky to have that kind of support in my life. Some of those moments felt true to my own experience. And yes, I believe art saved my life--whether it was the stories and art I consumed or made. It had a huge impact on my life and helped through good and bad times.

The Plain Janes [Cecil Castellucci and Jim Rugg/Little Brown]

https://boingboing.net/2020/01/07/janes-janes-janes.html

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diveronarpg · 4 years

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Congratulations, KYLIE! You’ve been accepted for the role of NICK BOTTOM. Admin Julie: I was impressed with your app from the first word. Your voice for Nikolai is impeccable and incredibly succinct, as if I myself could hear him talking. Nik’s a tough one to pin down, given his lackadaisical view of the world and the war between the Montagues and Capulets, but you didn’t just pin him. You hit the nail on the head. I’m overjoyed and ecstatic, and simply cannot wait to see your Nikolai grace our dashboards! Please read over the checklist and send in your blog within 24 hours.

WELCOME TO THE MOB.

OUT OF CHARACTER

Alias | Kylie

Age | 25

Preferred Pronouns | she/her

Activity Level | on a scale of 1-10 i would say i’m about a 6 or a 7!

Timezone | mst

IN CHARACTER

Character | Nick Bottom / Nikolai Borisov

What drew you to this character? |

What drew me to Nikolai initially was the sense of humor that I felt permeated his biography–I especially loved the line “Nikolai Borisov fell in with the wrong crowd with eyes wide open—waltzed right into hell and had the gall to call it toasty.” It told me that Nikolai posessed the ability to see the absurdity in the mob life–of pledging your life to a person who could give a damn wether you live or die, of taking yourself seriously enough to think that putting the lives of everyone in a city on the line for your own singular ambition is somehow in their best interests. I think humor is a large part of his character, but the longer I spent with him, trying to find his voice and being inside of his head, I came to realize that there was a dissonance between how he uses humor outwardly, and who he is internally. I think that the line that really sums it up for me is actually–”He is Frankenstein: a little mad, a little lonely, a man who dared to dream bigger than anyone else.” He wants to be around people, and he uses his humor to try and get people to like him, to decide that they want to be around him, but they have also never really understood him. I think he’s a lot like the fire he loves so much–a light in a city that thrives on darkness. But don’t be fooled, the light that he casts off is not divine in any sense of the world, its just as destructive as any good burn.

I also enjoyed the ways in which his particular form of intelligence set him apart from the others involved with the mobs—it takes real skill to be able to wire a bomb and place it in a location where it can do maximum damage, to be able to burn a building down to its foundations and avoid being caught, and Nikolai is good enough at what he does to be paid to do it by the most dangerous and important people in Verona. I was very interested in the ways that the chaos of his personality, of his habits, interact with his intelligence. It would be easy to underestimate him, to write him off as a little bit mad–but that would be a mistake, because there is always a method to his madness.

What is a future plot idea you have in mind for the character? |

LOOK WHO’S DIGGING THEIR OWN GRAVE

Nikolai doesn’t burn things out of anger—he does it because it brings him comfort, because in the cold where he was born you have to take warmth where you can get it, because fire is all he’s had throughout his entire life. I’d like to see him pushed, to see what exactly would cause him to think about why he does what he does—what would make him well and truly angry? Would that anger be enough to make him think twice about why he’s burning things? I’d like to see who or what he would allow to get that deep underneath his skin—would it be one of the Mobs? Would it be Pavel and his careless disregard for Nikolai’s hard work? Would it be damage to his reputation as a fireman?

ACTING OUT ALL THEIR FEARS

I’d love to dig more into Nikolai’s work with the mobs—what exactly are his parameters, what is he willing to do or not do? He’s chaotic and a little bit mad, but he’s not without pride—he thinks he’s the best fireman in the business and his work speaks to that. If he were given an opportunity to tie his allegiances to one side, would he take it? He values his independence and his ability to move around whenever he wants to highly, so whoever tried to buy his work on a more permanent basis would have to appeal to his vanity where his work is concerned. I’d also love to explore what exactly has kept him in Verona this long, when he would have normally probably moved on to a new place with new clientele.

THIS IS HOW IT FEELS TO TAKE A FALL

Nikolai has spent his entire life in motion, running from his work before he can be caught. It’s a dangerous game of inches and seconds and I’d love to play more with that—how long will it be before he spends too long admiring his work? I’d love to see how he would react if he couldn’t run fast enough, or if the person chasing him was as familiar with the back alleys of Verona as he is. What lengths would he go to to save his own skin, or would he simply bow out, knowing that every good show has to come to an end at one point or another? After all, if old Billy Shakes had kept writing after his number had been called, who’s to say that the stuff he wrote would have still been decent?

Are you comfortable with killing off your character? | of course!

IN DEPTH

What is your favorite place in Verona?

“Everyone in this town is so concerned with history.” Nikolai rolls his eyes, which are currently focused on a brown paper bag, nearly transparent with grease stains. He comes up with a fry which he unceremoniously shoves into his mouth, using his free hand to gesture wildly, with no real concern with what exactly he’s pointing at. “Over there is the bridge that His Holiness Pope Who Cares commissioned in 1189 B.C.E, in that museum you can see the dick picks that Leonardo Da Vinci painted and sent to Michelangelo’s house at three in the morning with a note asking if he was still up, and over there is the cathedral where Mario and Luigi pretended to care about religion, so that their dad wouldn’t get mad at them later.”

He pops another fry into his mouth and shrugs his shoulders as he brushes the salt off onto his jeans–denim with grease stains that could probably match the ones on the paper bag. “Where I’m from, in Russia, is the furthest North you can be without hitting the Arctic. There is no history there–the snow and ice get everything before it has a chance to acquire any kind of meaning. A building is just a building–none of it matters because you’re so concerned with surviving.” He shakes his head, and if anyone had been looking for it they would have seen his expression falter–the kind of melancholy that gets tinged with nostalgia and harder to explain the further you move away from it, the more you transform from the person in the memory. He’s quick to grin again, a little too sharp around the edges–a little too hungry, his father had once called it, after Nikolai had laughed at him when he’d asked about the black marks on his son’s hands. Wolfish.

“Anyway, that’s not what you asked, is it? My favorite places in Verona are the ones that don’t really fit–the abandoned warehouse next to the ornate cathedral. The street art on the side of a museum full of treasures. The shitty looking diner run by someone’s grandmother next to the Michelin star restaurant. The places that are never gonna end up in someone’s history book.”

What does your typical day look like?

Nikolai scoffs before he starts to cackle, a loud sound that draws the attention of people passing by—but come on, what a stupid question. Does he really look like the kind of guy who has days that are typical? He’s eating fast food on a park bench during the hours when other people are hard at work, his legs folded up underneath him. “Anyone who does enough of the same shit to have their days be considered typical is sad.”

He shrugs his shoulders, drapes an arm over the back of the bench. “I’m not going to daily yoga classes or brunch if that’s what you’re after. I go wherever the spirit moves me, whenever it moves me, and I’m rarely ever bored. Unless I’m on a job–” His grin turns into a kind of smirk, and he chuckles. “Then I have a routine. But those specifics are only obtainable by cash–and unless you’re hiding a hell of a lot in places that are hard to see? You’re not gonna get them.”

What has been your biggest mistake thus far?

He can remember every detail of that day with photographic clarity–the outfits of the people that had walked by on the street, the look on that smug bastard’s face and the shrieking of his laughter as he had hauled ass in the opposite direction, the way the ash had practically glittered in the sunlight. It would have been beautiful, had it not been three hours too early, had it not been everything he had built for himself that had gone up in gorgeous plumes of smoke and red-orange flames. It had been the first time he’d looked at a fire and felt something other than overwhelming sense of comfort, a sense of belonging in the world that could only come with leaving an irrevocable mark on the landscape. Instead he had looked at the smoldering remains of that particular building and felt fear–the fear that he would well and truly be on his own this time. That he would never feel warm again.

He blinks and tries to school his face into something unaffected, but he’s certain that he misses the mark–he’s never been good at judging where normal should be. “When you do what I do, you can’t really afford to make mistakes. One mistake and you’re a heap of ashes where a person used to be standing, y’know? But when I was starting out I made a lot of the typical rookie mistakes–I’d be surprised if I still had fingerprints.” He laughs again, and this time he feels it reach to the corners of his mouth.

What has been the most difficult task asked of you?

Nikolai shakes his head and shoves his hands into the pockets of his jacket, his left hand immediately finding the lighter that’s nestled securely in the fabric. His fingers move over the familiar outlines, the places where the finish is worn off from repeated handling–difficult begins and ends with this familiar weight in the palm of his hand. Difficult rarely ever stands up to the all consuming power of a good burn. “The job isn’t difficult–not when you’re good at it. The hardest part has been staying in one place for so long–normally I’d have left this place for somewhere new a hell of a long time ago.” He exhales, and tilts his face up towards the sky so that he can feel the warmth of the sun. It’s the boredom that worries him most of all, that makes him wonder when it will be time to leave Verona and her criminal underworld behind for good–it might be better for him to get gone before the place can drain the creativity from him permanently.

What are your thoughts on the war between the Capulets and the Montagues?

“It pays the bills.” He shrugs and grins–a slow reveal of teeth, too many teeth to be considered friendly or casual. “What do I care if they tear each other apart in the same of some bullshit history between them? The minute it dries up I’m out of here and onto the next batch of maniacs just like them.”

EXTRAS

pinterest board x

#accepted: nick bottom #accepted

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fatimaabdali20196709 · 3 years

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Interview Coverage: With the Designer Jessica Walsh, by Designboom

Jessica Walsh is a graphic designer, art director, and partner at Sagmeister & Walsh, a New York city based design firm. her award-winning portfolio includes work for clients such as a mango juice brand in India, and the Jewish Museum.

Designboom: can you remember the first image or images you saw that made you think about working visual communication.

Jessica Walsh: hello kitty!

DB: how did your interest in graphic design evolve and eventually come to be your profession?

JW: When I was 12 years old, I downloaded all kinds of graphic and 3D software. I started to learn how to code websites and what I could do to make them look great.

DB: who or what has been the biggest single influence on your way of thinking?

JW: Mt mothers strong female influence and hard work ethic have made me who I am today.

DB: how does working in a team compare to working solo for you? how did you adjust to joining a studio and how is work shared/ split between the team?

JW: when Stefan and I started, there was not a team that was as big as we are now. We started branching out into larger scope projects and now have 10 full time designers.

When working on a team, I prefer to collaborate with other creatives who have different levels of expertise. It is also beneficial to have a few people on the team who can brainstorm and come up with new ideas.

DB: what would you say is your strongest skills and how have you honed that skills over the years?

JW: I would say my favorite part of my job is conceptualizing how a brand can work seamlessly across various mediums. It is an accumulation of many things that I love doing. I am good at listening to my clients and developing solutions that fit within their constraints and budget.

DB: what are your thoughts on specialization vs generalization?

JW: The former works if you are good at something unique and innovative, while the latter works if you are good at something that is already very popular. I think the former works best when you are good at something that is already very popular.

DB: how do you think online design resources (blogs, tutorials, forums etc.) have influenced the graphic design being produced today?

JW: The democratization of design has allowed more people to pursue their passion and creativity. There are many good tools out there that allow non-designers to create websites and improve their photos. I also think that it is great for people who were not able to afford to hire a professional designer in the past.

DB: what are you currently fascinated by and how is it feeding into your work?

JW: I am interested in learning how to use generative or interactive processing languages in branding work.

DB: do you have any superstitious beliefs, rules or rituals that you live by?

JW: I believe in transparency and honesty. I am a very straightforward person who does not sugar coat things.

DB: what is the best piece of advice you have heard and repeat to others?

JW: fake it until you make it, I have always interpreted this as saying that if someone asked you to do something, that you would just say no and then figure it out later.

DB: what do you know now that you wish you knew when you were 21?

JW: doing great work is not enough. You also need to be able to motivate yourself and get the energy needed to do it.

DB: what’s your personal motto?

JW: perfection is boring. this goes for both life and our design work.

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justinmjm8700-blog · 6 years

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shadynerdenemy-blog · 7 years

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