Living legend John Romita Jr. has illustrated quintessential runs featuring Marvel Comics super heroes ranging from Spider-Man and Daredevil to the X-Men and the Punisher -- but his latest collaboration with superstar writer Mark Millar has really kicked some ass.
The all-star creative team joined forces in 2008 to launch "Kick-Ass" through Marvel's creator-owned imprint ICON and the series has expanded into a blockbuster multimedia franchise for Millar and Romita, Jr.
First came the surprise hit movie adaptation of "Kick-Ass" in 2010 directed by Matthew Vaughn, followed by a video game released by Frozen Codebase that served as a sequel to the film. Millar and Romita Jr. also released the official comic book sequel, "Kick-Ass 2," in October 2010. On May 15, the co-creators return to the world of Kick-Ass and Hit-Girl with "Kick-Ass 3," and the movie sequel "Kick-Ass 2" follows in August.
With the new series just weeks away, CBR News connected with Romita Jr. to discuss his early inspirations for Dave Lizewski -- the non-powered teenaged boy who propelled himself to superhero status with only nunchucks, YouTube and a never-say-die attitude --the differences between creating stories featuring iconic Marvel characters and creator-owned subjects and why even though he considers his partner in crime a great friend, even he doesn't trust everything Mark Millar says.
CBR News: Is there a different sense of accomplishment when creating stories featuring original characters like Kick-Ass versus comic book icons like Spider-Man and Captain America?
John Romita Jr.: You didn't know that I created Captain America and Spider-Man? [Laughs] Yes, it is much more satisfying but if in 50 years, "Kick-Ass" is still around that might quantify that answer more. If this is just a flash in the pan for a couple of years with no long-term effect, I don't know.
I like to keep my feet on the ground but if one of my characters lasts 60 years, and is as popular as Spider-Man is or even longer with Captain America, it will be a little more precious.
However, for this brief amount of time, yes, I am very, very proud and flattered with the compliments we get on this series and very proud that I am the co-creator.
Same question, but obviously there is more freedom too, right?
Absolutely true and also, it's the format. It's ICON and it's creator-owned and you have a little more leeway. I liken it to a comedian. Comedians that are doing blue work and get laugher are mostly flash in the pan comedians. It's really hard to be a blue comedian and last, like a Richard Pryor, for a long time. You have to be a special comedian to be like Richard Pryor and last a long time.
And then there are comedians that do regular, clean work -- clean for a lack of a better term -- like Seinfeld that go on forever. You have to be special in each tier. If this genre, which is a little bit more adult, allows that and that makes it more popular for a brief amount of time, that's one thing. But we still have to maintain this success over a long period of time.
Stories still matter. How much foul language is funny all of the time? Or how much violent and shocking content get you a brief amount of attention but then fizzles? You still need quality stories to make it last longer. And that's what we have with "Kick-Ass." It's just quality stories.
Yeah, it's shocking in a lot of ways and it's liberating in a lot of ways but no amount of f-bombs and foul words make a quality story. You need a good story and that's what Mark does.
Thinking back to first image you and Mark released with Kick-Ass nearly punching someone's face off, this series has always been featured a heightened level of graphic violence. When creating these stunning panels, where do you draw your inspiration? Are you watching a lot of UFC matches or maybe gritty action movies from the 1970s?
[Laughs] First of all, my father taught me how to box when I was a kid. And I'm a big fan of boxing. I still watch a lot of boxing. I've also learned some martial arts along the way. My son took martial arts lessons. And I took jiu-jitsu lessons. I have continued those for a good amount of time.
And yes, there is also the violent aspect of the cinema that I have grown up watching over the past 35 years. It went from being discretionary violence to very graphic violence. I've watched it change. But the storytelling is still the same. I have graduated from standard, discretionary violence to graphic violence and I was able to see it clearly.
But as a fan of boxing and a fan of martial arts, a fan of storytelling and a fan of choreography, it's kind of the goop melange, the soup, the mixture of all of the above but mostly, it's the adaptation of my storytelling with the graphic violence. When my storytelling went from "Spider-Man" discretionary violence to the graphic violence of "Kick-Ass," all I did was take the same storytelling tricks and apply it to more graphic violence.
It sounds simple but that's basically what it was. Instead of changing the way I told a story for the sake of the violence, I just applied the same storytelling formula to the graphic violence and it just provides me with a chance to show that graphic violence as opposed to hiding it.
You have a long history with Peter Parker. Did the fact that his build mirrors Dave Lizewski come into play when drawing those original issues of "Kick-Ass"?
That would make sense but remember I struggled for a lot of years keeping Spider-Man lean. And then I heard people complain that I made him too lean. [Laughs] I can't get it right but I was doing other characters like Punisher and Thor while I was working on Spider-Man and that made me struggle with the bulkiness of the character. I had to bring it back. So no, it wasn't really the case where it should be the case.