Last month, Newsarama spoke to Axel Alonso about Garth Ennis’ departure from the Marvel MAX Punisher title. At the end of the interview, Alonso mentioned War is Hell: The First Flight of the Phantom Eagle—Ennis’ first project post-Punisher. Penciled by Howard Chaykin, the War is Hell: The First Flight of the Phantom Eagle reintroduces the Marvel Universe to The Phantom Eagle; a character who debuted in Marvel Superheroes II #16 in 1968. Set during World War I, the new title will follow the exploits of US fighter pilot, Karl Kaufman a.k.a. The Phantom Eagle. The obscure character was last seen in Thor Corps #3 in 1993.
Newsarama sat down with the editor of War is Hell: The First Flight of the Phantom Eagle, Nick Lowe; to talk about the new titles particulars, as well as, the usage of the MAX imprint.
Newsarama: Nick, let’s start with the basics - what can you tell us about War is Hell: The First Flight of the Phantom Eagle?
Nick Lowe: I can tell you all kinds of things. First, this is a project that Garth and I’ve been trying to get going for a few years now, but couldn’t find the right place for it. I was the assistant on Punisher (Knights) and Punisher: Born and when those series wrapped up, we were looking for a new project to work on. When I found the character Phantom Eagle, it was love at first sight, for Garth. When we finally got the go-ahead to do a MAX War book and Howard Chaykin signed on, it became a reality and we were all really, really happy.
NRAMA: How does it fit into the Marvel MAX line?
NL: With a Vickers. War comics have been a huge part of comics since its infancy. This is our chance to do it with the MAX line. The First Flight of the Phantom Eagle will give you a flavor of what War is Hell, as a title, will bring you—hard-hitting stories of the brutal reality of war and the brave men and women who fight (and often die) in them.
NRAMA: So, War is Hell isn't specific to any War or is it a World War I/II period piece style book?
NL: The First Flight of Phantom Eagle takes place in World War I, actually, right as airplanes were starting to become weapons of war.
NRAMA: And the Phantom Eagle – just so we’re all clear – he’s the protagonist, right?
NL: Right. The Phantom Eagle is Karl Kaufmann. He’s an American who wants to be a part of the war effort to push back at Germany, so he buys himself a plane and forges some papers to get him in a British fighter group.
NRAMA: You mention brave men and women. How many cast members are there or is this more of a variable cast?
NL: This story focuses more on the men-folk (as that was the reality of the war aviators of the time). There are a few main characters in the book, but the reality of being in a British Fighter Group in WWI was that not many people made it through the conflict.
NRAMA: Garth Ennis and Howard Chaykin--that's quite a powerful combo--what's it like to work with two very potent industry vets?
NL: It’s really great to be working with Garth again. He’s the most consistently good writer in the business and a consummate professional. He’s insane about his research, he is always ahead of deadline and his scripts are so clean I often do eat my lunch off them. If only he could curb his penchant for goats.
As for Howard, he’s a perfect match for Garth and for the series. He matches him on the research and the deadlines (if only he could work on his personal cleanliness). His work has such a power to it and he brings such a gravity to the work. I’m so happy to finally be working with Howard on a project and I think this is his best work in years. Check out some of this awesome art…
NRAMA: Other genre specific books, like DC's Jonah Hex, seem to function well without the over-the-top graphic amounts of violence. With the MAX label on the front of the book, do you think the hyper-violence of the situational context of the book will limit your readership to a niche audience? Or do you think that taking the level of violence in the book to a realistic level will help propel the book forward? War really IS hellish, right?
NL: The MAX label is essential for this book. We wanted to portray the reality of what war is and who the people are who fight it. That’s the most important thing to us. We think this is an important story coming at a time that it will resonate.
NRAMA: With the exception of Ennis' work on Punisher, the one of the only traditional Marvel character carried under the imprint, do you think that titles printed under the MAX line can endure under the weight of their own adult-oriented devices? Does it boil down to execution or is it as simple as saying, "Hey, we can show a guy's arm getting blown off, the Phantom Eagle can say the word ‘shit’, and we can show boobs all in the same issue!"?
NL: I’ve worked on several MAX series (Alias, Punisher: Born, Thor:Vikings, Wisdom and Supreme Power) I and I can’t remember a time that we did a MAX book just to show boobs or swear. Usually the reason they are MAX has to do with tone, more than just graphic violence or language. Lately, it’s had a lot to do with genre work, too. We at Marvel are desperately trying to expand the comics market and get different kinds of stories out there for readers to enjoy. MAX is part of that.
NRAMA: Is War is Hell a mini-series? Monthly? When should readers start eying the shelves for the title?
NL: War is Hell is a classic war comic title that we’d like to keep going. I’m talking to a few people about possible follow-ups to The First Flight of the Phantom Eagle, but for right now I just want people to check out this book. It hits the stands in March.
NRAMA: Are there any other new projects you're going to be overseeing under the MAX imprint?
NL: There are a few things I’ve got on the back-burner, but nothing ready for discussion.
NRAMA: How can people who are interested in the "production" side of comic books become more aware of "how to" become an editor of comic books? You were an intern for Marvel--correct?
NL: There’s not one way to become an intern and the path would vary for people of different ages and experience levels. I was indeed a college intern, was hired on as an editorial assistant and worked my way up to editor over a five-and-a-half year period. There are a few others like me. But there are others who took different paths. Warren Simons was editor-in-chief of Resume.com before he applied and got hired to be one of Axel Alonso’s assistant editors and became an editor over a five year period. Axel worked in journalism before he got hired at Vertigo. The path is different depending on who you are.
NRAMA: When approaching editors, what is the best method of presenting your work--as an artist and as a writer? What are surefire signs that you need to work on your craft more before an aspiring artist or writer approaches someone like a Nick Lowe?
NL: Another big question. I would say this—if you don’t have any previously published work, you probably shouldn’t expect much from approaching an editor at one of the major publishers. You can (and should) approach them, but unless you have something that has seen print to show, your chances aren’t good for getting hired. Heck, even if you do have something that’s seen print, the chances aren’t good. It’s incredibly hard to work in comics. But if you’ve got the work ethic and persistence, you can do it.
NRAMA: Have you ever been bribed as an editor? [laugh]
NL: Oh yes. The real genesis behind Civil War is that Mark Millar took me to Bermuda. It was delightful.
NRAMA: Back on our original track - sum up the best reason that anyone should buy War is Hell: The First Flight of the Phantom Eagle?
NL: It is a story that will make your stomach drop. And you will learn what it was like to fly a plane in World War I and change the way you look at war in general.
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