Comics Creators

Fan Chat Season 2. Episode 2 - Stuart Immonen


Our guest this week for the Millarworld chat series will be comic artist and writer, Stuart Immonen. Stuart Immonen is a Canadian comic book artist. He is best known for his work on Nextwave, Ultimate X-Men, The New Avengers, Ultimate Spider-Man and Star Wars. He is currently working with Mark Millar on Empress which debuts this week.

Please feel free to leave any questions you might have for Stuart in this thread ahead of time but only questions please. All other posts will be deleted. Thank you.

Stuart’s Website

Join us on April 6th at 2:00 PM New York time.

Empress Week - The Entire Creative Team get Interviewed!!!
The Official Empress #1 thread!!!!!


If you could illustrate the biography of any historical figure, who would it be and why?


So -


What do you want to be called? Do you have any bizarre comics artist pastimes? Arm wrestling? Arachnid collecting? Square dancing?

Welcome to MillarWorld!

We are the stuff of nightmares.


Hi Stuart, Did the following image help when you decided to work with Millar?

A personal question- I won’t mind if you don’t answer but… Is it possible you may not be your wife’s favorite artist? I only ask because she does such great work with David Lafuente. IMO, Hellcat is a modern classic and one of the greatest miniseries of the last few years( and she should so be a consultant if they ever do a Patsy(Trish) Walker tv series on Netflix).


Thank you for finding time to do this chat, so here are the questions:

1.- Was Empress a challenge for you as a artist?
2.- How many hours a day do you invest in drawing?
3.- You drew Fear Itself for Marvel, that was more about fantasy and magic, do you prefer to draw Sci Fi sort of books?
4.- Empress will have a movie soon, what do you feel about it?
5.- Will you do more creator owned books in the future or will come back to Marvel?
6.- Why you close your twitter account?

And again thank you!


Hi Stuart. I’ve been an admirer of your art for a long time, and I’ve enjoyed seeing the ways in which your style has evolved as you’ve worked on different projects.

One of my favourite books that you worked on was Superman: Secret Identity with Kurt Busiek, which employed a style that was quite different to much of your other work - skewing more towards photo-realism, and with a more delicate colour palette.

Was that part of the evolution of your art in general at that time, or was it an approach that you specifically developed and tailored for that book? And could you see yourself returning to a similar style for a future project?


@stuartimmonen - Thank you for taking the time to join us for this Fan Chat on Millarworld. I’m a big fan of superhero comics but also love slice of life comics. You are one of the few comic creators that I am aware of that crosses the boundaries between those genres. What draws you to those projects? Do they allow you to explore certain things artistically that you are normally unable to with superheroes? Which of those books are you most proud of and would recommend to someone who enjoys your superhero work?


Hi Stuart. Like many here I’m an admirer of your work and I was wondering what a typical day is like for you.


As a reader, biography is not something I’m particularly drawn to, though I do read a lot of non-fiction. As an author, I’m not sure it would suit my particular skill set, either. Perhaps this is all coloured by the fact that one of my first jobs in comics was biographical work, and I’m not (yet) too keen to return to it.



1- Stuart’s fine.
2- No collection, but I can tell an Orb Weaver from a Brown Recluse.
3- Thanks kindly. Consider me warned,



What is one of the oddest things you have ever been asked by a writer to draw for a comic book?


Mark’s never mentioned it. I’m sure he’s never seen it until now.

I’m sure I’m not Kathryn’s favourite-- we both love David’s work to pieces. His are some of the very few originals we have hanging in the house. I’ll pass along your kind words about the Hellcat mini.



Haha. I actually had to approve that cover. Marvel legal ran it past me the month before it came out. Naturally, I love it :slight_smile:



1- Yes, Empress is a challenge. Every project is, though it’s possible that’s just my own problem. Developing dozens of fully realized societies, with individual technologies, fashions, and so on is very demanding, but Mark has given me lots to work with
2- it varies, of course. I guess it averages to 6 or 7, but it can be 5… it can be 10.
3- I hadn’t really considered FI to be fantasy… it’s all fun… and work. There are other genres I like, too.
4- Soon? I don’t know as much as you, clearly.
5- I’ve been doing creator-owned books for the last 28 years. No reason to stop. Marvel certainly doesn’t stand in the way of it.
6- Twitter wasn’t my thing, I discovered. Happier without it in my life.




Is there something that writers regularly do in their scripts that you wish they wouldn’t?


Q to both Stuart and @Mark_Millar (since you’re here) - in association with Empress, have either of you heard an old Blue Oyster Cult song called “Black Blade”, based on Mike Moorcock’s soul-eating sword Stormbringer? First line is “65 million years ago”.

I figure Mark has not heard it.


Hello and thanks.

S:SI was a pleasure, and Kurt’s a gentleman and a scholar. He wanted a grounded, naturalistic look for a grounded story, so that’s why I worked that way. The downside was that it took a long time to produce, nearly two years for 200 pages, so it’s not the kind of thing I can do on an ongoing basis. I’d come back to it if the right project demanded it.



Here I was, thinking we were all sneaky and stuff on a book that sold two copies.



I like all kinds of stories, too, which is why I try to make room in my working life for different projects, different styles, different formats. Kathryn’s the same way, so naturally we enjoy developing them together. You’ve basically answered your own question-- there are so many avenues to explore, it seems a shame to limit oneself.

Being proud is another matter-- it’s hard for me not to see the flaws in my published work, so I tend not to revisit books. Moving Pictures was very close to coming out the way we envisioned, and Russian Olive To Red King was also something that we found very satisfying. Chris Pitzer at AdHouse did an amazing job making that happen.