BWS points out what we already know, that no magazine out there includes comics as entertainment with the same value as movies or books, and the comics press, what little there is, is for the most part driven by either collectors or young boys.Wizard doesn’t support the genuine hard work. It’s always the same damn cover. It’s always a girl with no ribs and tits the size and shape of whole planets, and the content is always boy’s club stuff. They didn’t support STORYTELLER, but It didn’t hurt us a whole lot, because even if we could have sold extra copies from being in Wizard we would’ve sold on a one-time basis only, because it’s likely that your average Wizard reader wouldn’t give a second look to such a radical departure from the norm.”

An award-winning artist, a legend in comics, and a genuinely smart and interesting man, Windsor-Smith is also the type of person we hope reads interviews like this one. He appreciates us, and we appreciate him. “It’s about time the art form was defined. The comic book standard for what’s valuable is what sells the most. That is the way it’s always been. That’s one of the things that has kept the medium on the lowest rung. But what if Marvel and DC had nurtured genuine creativity rather that genuine salability? What if they had welcomed the Dan Clowes’s, Jason Lutes’s and Hernandez Brothers’s of the world and used their big money clout to change the way America perceives comics art?”

I point out that we chose to interview Windsor-Smith because he made a difference in his field, one of several artists who have striven to genuine creativity.


“Have you seen the trailers for (the movie) The Matrix? With Keanu Reeves? Now that the movie industry can spend millions on making live action comic books for adults, where does that leave the bleedin’ X-Men or whatever? Can you imagine one of the companies doing a comic adaptation of The Matrix? Can you guess at how pathetic such and endeavor would be?”

Since this interview, The Matrix has come out, and it is in fact a comic book. The story is similar and the sheer imagination in the effects and production design are similar to the no-holds-barred barrel of creativity available to artists in comics. In fact, the Wachowski brothers, the writer-directors, are ex-comic book writers, and relied heavily on comic book artists like Geoff Darrow to envision their world. The gap between movies and comics is closing, and Windsor-Smith is absolutely right that the comic adaptation of such a brilliant comic movie would be lame. That is the problem.

“If comics art had its own true identity the publishers wouldn’t keep making such godawful fucking fools of themselves.” Windsor-Smith says, “Don’t try to compete with movies, it’s utterly impossible. Don’t imitate other artforms, do in comics what cannot be found in any other medium. We have a cache of one-of-a-kind storytelling techniques and we’re bastardizing everything we have in trying to emulate film, tv, and even other bloody comics!”