Victor Gischler’s work has been translated into Italian, French, Spanish and Japanese. He earned a Ph.D. in English at the University of Southern Mississippi. Gischler was nominated for an Edgar Award with his first novel Gun Monkeys. Currently, he is working on the mini-series “Clown Fatale,” which he created for Dark Horse Comics.
Here are Five Questions for Victor Gischler:
1. You are currently working on “Clown Fatale.” Please tell those who not yet read your comic what they’ve missed so far.
CLOWN FATALE is a tribute to and parody of grindhouse and exploitation films like Russ Meyer’s FASTER, PUSSYCAT! KILL! KILL! Deliciously lowbrow and gratuitous. In the first issue, we were introduced to the four lovely ladies who are living miserable lives as clowns in a shabby little circus. They are mistaken for a hit squad and hired to do a job, and they see this as a way out of their rotten clown lives.
2. Clowns are a huge fear for many people, how were you able to ease the nerves of those who fear the painted of entertainers?
I don’t think I eased any nerves at all to tell the truth. In a way, I don’t want the nerves eased. I want that tension that comes from the contrast of attractive ladies … but they’re clowns! Ew! The “WTF” element of this is a big part of the fun. I mean it’s messed up, right? You’ve got to go into a book like this know it is MESSED UP!
3. You work artists Maurizio Rosenzweig and Moreno Dinisio, what was it about these artists that you were convinced would ideal for “Clown “Fatale?”
Maurizio was recommended to me by my Italian editor as someone who was good at drawing women but also had a style that fit well with the edgy humor we were going for. And Moreno’s vivid colors are perfect for the garish world of the circus. They really are the perfect dream team for this project. I think other editors are catching on, and I would be surprised if you saw these guys on other books soon. A lot of talent there.
4. You have worked on Buffy, The Punisher and X-Men, to name a few titles. What is the difference in feeling you have when working on characters you have created versus an already established property?
I don’t have to worry if I’m “doing it right.” This is my story. These are my characters. By definition I’m the person who knows what’s best. Not all readers will like it, but I know I’m accomplishing exactly what I’ve set out to do. There is a completely different level of confidence with creator-owned work.
5. Once this mini-series ends, what’s next for these characters?
Who can say? I mean, we don’t even know if these ladies will make it through the mini in one piece. No character is safe in a book like this.
