Editor's note: Some words can describe certain creators. Jack Kirby was "The King". Steve
Rude is, now and forever, "The Dude". The word that seems most apt to describe Erik Larsen
is "The Professional". He embodies the word not only in his desire to provide his fans with
solid stories and artwork, but also in his reaction to seeing his work butchered by others,
including intrusive editors.

He also was incredibly accessible. Not only did he turn over our e-mail interview in under
twenty four hours, but he sent it again to us when, due to unforeseen circumstances, we lost
the original copy of this interview. He let us ask some pretty strange questions, and he didn't
even voice the slightest complaint.

His work extends from The Adventures of Superman to Big Bang Comics to Mars Attacks to
Nova and, of course, Savage Dragon.

Handling the interview were John Gabriele (JG), Dennis Wilson (DW), and myself (RR).

RR: Before we butcher your past, could you give us a list of the earlier titles (Pre Dragon) that
you worked on, so that we can be more complete with your bio?

EL: Here are a few...

Adventures of Superman #431
Amazing Spider-Man #287, 324, 327,329-350
Aquaman #50-62
Aquaman: Secret Files #1
Back-Up Stories Special
Big Bang Comics v2 #12
Deadly Duo v1 #1-3, v2 #1-2
DNAgents #13-17
Doctor Strange #4 (cover)
Don't F**k With God Poster
Doom Patrol #6-16 (#16, cover only)
Doom Patrol/Suicide Squad special
Dragon #1-5
Freak Force #1-18
Freak Force v2 #1-3
Giant-Sized Mini-Comics #4
Guardians of the Galaxy #19 (cover inks)
Image #0
Incredible Hulk #346
Mars Attacks Image #2
Marvel Comics Presents #31-38, 43, 48-50, 82, 83, 138-142
Marvel Super-Heroes v2 #8
Marvel Universe Poster (1991)
Megaton #1-4
Megaton Explosion
Namor the Sub-Mariner annual #1
New Wave #6
Nova v3, #1-up
Outsiders v2, 24, 27-28
Phantom Force #1-2
Savage Dragon mini-series #1-3
Savage Dragon #1-present
Savage Dragon: A Force To Be Reckoned With Trade Paperback
Savage Dragon: A Talk With God Trade Paperback
Savage Dragon: The Fallen Trade Paperback
Savage Dragon vs Savage Megaton Man special
Savage Dragon/Destroyer Duck special
Savage Dragon Poster
Savage Dragon / Teenage Mutant Ninja Turtles Crossover #1
Savage Dragon Trade Paperback
Secret Origins #13
Shadowhawk #4 (cover inks)
Spider-Man #15, 18-23
Spider-Man/Wolverine #1 (reprints Marvel Comics Presents #48-50)
Splitting Image #1 (alternate back cover)
SuperPatriot #1-4
Teenage Mutant Ninja Turtles (Mirage) #50, #1-present (Image)
Teenage Mutant Ninja Turtles Trade Paperback (Image)
Teen Titans #33
Teen Titans Spotlight #10, 15
Thor #385
Vanguard #1
Vanguard: Strange Visitors #1-4 (cover inks)
Wildcats #14
Wolverine #133-up
X-Force #2 (inks, 3 pages)
X-Force #3 (inks, 2 pages)
Youngblood #1 (inks, 1 page)

RR: Whom can we hold responsible for the Savage Dragon cartoon?

EL: There are quite a few people who contributed to make it what it was. No one person can
take all the credit.

RR: When someone alters your project like that, what kind of recourse do you have as a
creator?

EL: Cash the check.

RR: The Savage Dragon cartoon was a completely vanilla Saturday Morning superhero
cartoon, while the comic itself is known for its shocking scenes and adult themes. Is there any
way you can reconcile the fact that the two of them have the same name, and ostensibly
portray the same character?

EL: Yes, the cartoon happens on different days when he's feeling more mellow. This part I
have the least problem reconciling-- it's the rotten animation, poor voices and weak scripts
that I have a bigger problem with.

JG: You saw what a pain it was to put the Dragon on TV, would you still be interested in seeing
him on the big screen?

EL: It would be a kick even if it were awful-- but when something is lousy, there are no shortage
of people willing to point their fingers. It seems that when a movie is great, they praise the
director and when it's lousy they blame the stars.

RR: Wolverine. What's the attraction? What is he beyond a hack and slash machine?

EL: A warm, tender, caring human being, you insensitive lout.

RR: On the subject, why does X-Men always dominate the comics sales charts?

EL: Fans simply dig these cats the most.

DW: Your recent departure from Aquaman was blamed on the usual demon of "creative
differences." Would you care to elaborate? Specifically, how did your vision of the series differ
from the editor's?

EL: Basically, I want to do stuff that he didn't want done and he wanted me to do things that I
didn't want to do. Just watch the book after I'm gone and with every issue, think of me saying,
"See? I didn't want to do THAT."

RR: Kevin Dooley sent over a ton of memos. Is he the most controlling editor that you worked
with, or have other editors wanted more control over the storyline?

EL: Mark Powers has a lot of things to say but he made that clear from the beginning. I have
no problem with that. It's interesting because a lot of Mark's stuff ends up being challenging
and fun. He'll say things like, "Do whatever you want, just make sure Cable is involved." which
can make for some pretty wild stuff--

DW: What lessons did you take from the experience, both as a creator and a business
professional?

EL: Nothing I didn't already know, really.

RR: The situation had you and Peter David actually sharing a joke or two online. Was there
any real acrimony between you in the past? If so, is it water under the bridge now?

EL: Peter and I were at each others' throats some time ago. I'd like to think it's in the past.

RR: You've had so much freedom over at Image. Why go back to editorial control over at DC
and Marvel?

EL: The idea, at least initially, was to get my name back out in people's faces--when you do
one book and one book only for seven years-- generations of kids can miss out on your stuff
entirely. The thought was that if I did a few well-placed books, my name would be in the news
again-- in fans' faces again and perhaps that could translate to better numbers for Savage
Dragon.

At this point, I don't need the money-- but I'm not too keen on paying for the privilege of seeing
my stuff in print. It can be tough to attract attention on an ongoing book where there can be no
change in the creative staff. Just ask Mark Evanier about that.

There is still a strong love for the characters and the universes and it's a different kind of thrill--
I can do a Dr. Doom parody in Savage Dragon but only at Marvel can I use the real thing. The
victories are small and hard fought but every now and then a few good lines survive and it
keeps me going.

Nova has been the easiest (by far).

It occurred to me, however, when I wrote a text piece for the Nova book that Nova is what
Savage Dragon could have been had I done what Marv Wolfman did and given the character
to Marvel. This was something he created as a fan--and now I'm sitting here, writing HIS
character while he can only sit on the sidelines and watch in horror.

DW: Did you find the transition back to working on characters owned by others to be difficult?

EL: Not at all.

RR: You've been pegged by Wizard as the next Writer of the Year. Was that a blessing or a
curse?

EL: We'll see.

RR: Was the founding of Image a deliberate thumb to the nose to Marvel and DC, or was it just
a desire to get more freedom to create?

EL: I don't know how it could be the former-- to me, it was always about getting to do my own
crap without editorial intervention.

RR: What is your take on the Rob Liefeld situation at Image? (If you can legally make any
comments about it)

EL: There is no Rob Liefeld situation at Image.

JG: What do you think the future holds for Image? Comics in general?

EL: I think Image and everybody else will continue to produce the best comics we can.

JG: What are some things that could "save" the comics industry?

EL: I think good work is really the only thing we can do. I do feel that at times we tend to make
these books so dependent on back issues that they can be nearly incomprehensible to a
casual reader and I feel strongly that we need to get back to the idea that every issue is
somebody's first issue and work to make the stuff more self-contained.

JG: Looking back, how would you rate your work on that issue of Superman from years ago?

EL: It was okay.

RR: Being a good Chicagoan, I have to ask, why pull Dragon off of the Chicago P.D.? The
wimpiest hairdresser here could drop the meanest thug in New York.

EL: I wanted to tell some stories with a broader range than Chicago-- I didn't feel that
Dragon:cop should be going to space or to other dimensions. But that's not to say I can never
go back-- that Dragon can't be located in Chicago again. He will be.

RR: About the shocking scenes over in Dragon, do you self edit? Have you ever rejected a
scene that you thought up?

EL: I usually draw 30 pages for every 20 that see print. The stuff that's left out is not as good as
what stays in-- that's why I cut it.

RR: Do you set up the story to present some of the more intriguing scenes like Hitler's brain
running around with a gun, or do the scenes fly out of the story?

EL: Often I get a flash in my head-- THAT would be cool-- sometimes it's planned out years
ahead of time-- it really depends.

JG: What current creators/books do you enjoy reading?

EL: Not enough. Hellboy, Minimum Wage, Sin City and a few others. I'm reading more Marvel
stuff these days but not necessarily enjoying it all.

DW: Care to elaborate on you upcoming plans for Savage Dragon or your Marvel projects?

EL: No.

JG: What do you hate most about comics/ comic industry?

EL: People elaborating too much on their upcoming plans for their projects. There are too few
real surprises out there.

JG: Seeing as a lot of comic creators have recently passed on, Kane, Faulk, & the Archie
creator (sorry I forgot his name), how would you want to be remembered?

EL: I don't care-- I'll be dead, it won't effect me one way or the other. Hopefully they won't be
saying, "Thank god THAT prick finally kicked off." but it doesn't matter to me that much.

And now: the speed round:

JG: What can't the Red Sox win the World Series?

EL: Because they bite.

JG: How would you solve the Hawkman problem?

EL: Trash everything that's been done since Kubert stopped drawing him and go back to the
GOOD stuff. Most of this stuff makes me ill.

JG: Do you still love the NBA?

EL: As much as ever!

JG: Favorite late night snack?

EL: I don't snack at night-- never have much. In my youth, cereal, I suppose. Cap'n Crunch is a
******* GOD, man.

JG: If you listen to music while penciling, what kind? What bands?

EL: When INKING mostly-- Beautiful South, Elvis Costello, Aimee Mann, Elton John, Q-Kumba
Zoo, Army of Lovers, Chumba Wumba, the Knack...

JG: Do you need anyone to do your taxes? I am available.

EL: Taken care of.

RR: Would you like to go hunting with some of the rec.arts.comics people?

EL: Nobody's listening to them anyway.

RR: Would you advise them not to wear orange, and put on fake antlers?

EL: As a general rule, yes.

JG: Any chance of seeing that Adam Hughes Savage Dragon annual?

EL: No. Rick Mays drew that story and it was printed as the two-part Sex & Violence series.

JG: Any chance I can get some artwork? (Note: John is the biggest Erik Larsen/Savage
Dragon fan on our staff.)

EL: Nope-- I keep all my old artwork.

JG: Do you enjoy the "Desperate Times" back up stories as much as I do?

EL: How could I?

DW: How do you get a whale into a movie theatre?

EL: Entice him with buttery, mouth-watering popcorn.