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When "Wolverine" #50 hit stores a few weeks back, legions of fans eagerly snapped up the milestone issue. The sold-out issue was the opening round in the latest battle between Wolverine and Sabretooth, which just might turn out to be the most vicious fight the Marvel Universe has ever seen. Issue #50 marked the beginning of "Evolution," a six issue story by new series writer Jeph Loeb. As "Evolution" unfolds, the violence between Wolverine and Sabretooth will escalate and secrets about their adversarial relationship will be revealed. Bringing to life Loeb's story of savagery and secret history is artist Simone Bianchi. CBR News spoke with Bianchi about his work on "Wolverine."
When Bianchi was drawing "Wolverine" #50, his mind was on the task at hand, not how many copies of the issue would be sold. "I was just doing my job and trying to do it the best that I could," Bianchi told CBR News from his home in Lucca, Italy. "At the drawing board I tend to focus on my job as much as possible. I knew the book was going to be big in terms of promotions and expectations and I was kind of hoping the book was going to sell this good, but I was putting all my energy and strength into what I was doing without thinking about sales. I think of sales and money after drawing."
Bianchi and Loeb were both very happy with how well "Wolverine" #50 sold. "I talked to Jeph about this and we're both really excited about people's reactions to the first issue," Bianchi said. "Especially because right now I'm finishing the storyline and it keeps getting better and better. It's uplifting somehow because I think issue #50 just hints at things and the real action and real story is still to come. The best is yet to come both in terms of script and pages."
Loeb's scripts have helped Bianchi put his best into the pages he's rendering for "Wolverine." "I think Jeph is one of those writers who really writes to the strengths of his artists, no matter who they may be. Whether it's John Romita Jr., Michael Turner, Rob Liefeld, or me, Jeff has this unbelievable capability to understand what an artist can handle best. Without talking too much, he understood from the first moment that we met that I was one of those artists who was crazy for drawing double splash page action packed spreads and full page spreads. I didn't tell him. He just realized that.
"Another thing that works out perfectly for me in Jeph's scripts is that he tends to use very few panels on each page," Bianchi continued. "That's something that I really love because in Europe it's a different story. We have hardcover books so we can definitely dial up a page on a bigger number of panels, but in the States, where you have your twenty two page books, the size is smaller than the books we have in Europe. So I think three to four and at the very most five panels per page is the perfect kind of balance and it seems like Jeph understands this best. Marvel couldn't have given me a better writer to exploit my drawing skills because Jeph is very interested in the way his artists are going to draw his stories."
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