They already had a Marvel license we were working together with, and this Fantastic Four book was a good fit for them to bring about the kind of graphic novel format I was interested in. Since he's been at Abrams, he's overseen the tremendously successful Wimpy Kid book series and started the Abrams ComicArts imprint. He was the first person to hire me for a job at DC in 1993, and he edited all of my tabloid-sized books with Paul Dini. He had a Marvel comic book story that just happened to be part of a series, Open Space, that was canceled before Ross' issue could be released. The connection with Abrams came about with my longest editorial relationship in comics with editor Charlie Kochman. Around 1991 or 1992, Alex Ross was still a relatively unknown comic book artist, but his painted work was so striking that it seemed likely that he would eventually find work. What was it about working with Abrams ComicArts on this project? There is so much of Kirby's style that can make the transition to our era now. I'm someone who grew up on Kirby's work directly, so I am always referring to his source when I put forth my interpretation. My hope is always to convince people that the original designs and looks were fine as they were and just need the care given to embellish them accurately. I know that when I bring my photo-based form of dynamic realism to a subject that it may allow people to see the characters in a new light. What is it about this era you wanted to highlight, and how did you want to add your own voice to it? This is a tale that evokes the classic Lee/Kirby era with your own twist.
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