EP02 - Mike Deodato Jr.

MIKE DEODATO JR. - INTERVIEW 2024

First I would like to thank you for taking the time to do this. It is a real pleasure to be able to speak with you, when I created this blog for my website to talk with my favorite comic creators, I could have never imagined that in just a span of a couple of months I would be able to have Mr. Quesada and now you here as well, so thank you again!

Thank you so much! It’s a pleasure to be here and part of your blog. Having been a fan of comics my whole life, I know how important these conversations are to fans and creators alike, so it’s great to be part of this! It’s especially cool that you’ve had Joe Quesada here before—he’s an amazing talent.

The first time I came across your art was in Amazing Spider-Man #509, I know Sins Past was controversial, but when I first read it in 2005 (we didn’t get the english releases, but were able to collect all kinds of comics in hungarian and italian) I was immediately captivated by your work. The chiaroscuro styled, hard shadows and almost photorealistic panels were just mind blowing.

The Amazing Spider-Man #509 - Art by: Mike Deodato Jr.

Starting off, when did you realize you wanted to work in comics? Did you have any formal education, or were you self-taught?

I’m self-taught, but I had the invaluable help of my father, who was an artist himself. I realized I wanted to be a comic book artist when I was about 13 years old. From then on, it was all about improving my skills and pursuing that dream.

Your big break at DC came with 1994’s Wonder Woman (written by William Messner-Loebs), what was it like working on such an iconic character, and what challenges did you face?

Wonder Woman was a lot of fun to work on. I had total freedom on the book, and I really wanted to show the world what I was capable of. It was an opportunity to showcase my best work, and I have fond memories of that process—especially the chance to leave my mark on such an iconic character.

After Wonder Woman, you worked on Glory for Image/Maximum Press. How did that come about, and how was the experience different from Wonder Woman?

Rob Liefeld invited me to work on Glory because of my success on Wonder Woman. I remember co-creating some of the characters, and it was a fun experience. It was different in the sense that I had more involvement in creating the story elements, which gave me a bit more creative freedom than Wonder Woman.

You worked on Amazing Spider-Man during a time when it was written by J. Michael Straczynski. What was your approach, and did you collaborate with him on the story or work mostly from his script?

Most of the time, writers and I don’t interfere with each other’s work. I prefer it that way, honestly. I enjoy the process of receiving a script and letting my imagination go wild. Straczynski’s scripts were fantastic, and it was a pleasure to bring his stories to life.

Your work with Warren Ellis on Thunderbolts was fantastic, especially your renditions of Green Goblin and Venom . What’s your best memory from that project?

That’s one of my best works, for sure. I remember being blown away by Warren Ellis’ script. It was such a dark, intense story, and it gave me the chance to really experiment with the characters visually. I think that’s why people remember my Venom and Green Goblin so vividly.

Dark Avengers is probably one of my favorite Marvel comics of the past 15 years and a fan-favorite as well, with a notable shift in art style towards the final issues. How did this project start, and what behind-the-scenes moments stand out to you?

Brian Michael Bendis is one of my favorite writers, and we’re good friends, so I was very excited to work on Dark Avengers. I spent a lot of time creating new visuals for each character, but only Iron Patriot ended up making it to the final version. I love how the coloring shift mirrored the tonal change in the story—it was one of those subtle but effective moments in the series.

I recently visited Italy and at a train station newsstand, found a copy of Ultimates Annual #2. That cover alone was worth it. Do you remember creating that cover? What was your thought process?

Yes, I remember that cover very well. It was one of my many attempts to emulate the style of Frank Frazetta. I’ve always admired his work, and I wanted to bring some of that energy and dynamism into the cover.

The Ultimates Annual #2 - Art by: Mike Deodato Jr.

Your covers for Elektra are striking—dark, sexy, and action-driven. Did you have free rein in creating them, or were there specific guidelines? Any rejected ideas?

Most of the time, editors give me a prompt or concept of what they want in a cover. I used to do multiple layouts for them to choose from, but nowadays I just go with one. Sometimes, ideas get rejected, but that’s part of the process. Elektra gave me a lot of freedom to explore different aspects of her character visually.

Your return to DC with The Flash in 2023 saw a noticeable shift in your art style. How do you keep evolving your style while staying recognizable?

That’s a reflection of my deep love for comics. I’m constantly learning and trying new things, always experimenting with my art. It keeps the work exciting for me and, hopefully, for the readers too.

What does your sketchbook look like? What kind of tools do you use?

I mainly use an HB pencil and comic markers. I keep it simple, but those tools allow me to capture the energy and detail that I want in my sketches.

What are some of your treasured artworks, and why?

I’d say my work for AWA Studios and Berserker Unbound. Those projects are very special to me because they’re creator-owned, which means I had full creative control alongside my co-creator. They feel more personal because they’re truly mine.

What’s your take on working digitally versus traditionally, especially with the rise of AI in the industry?

I mostly work digitally now, and I love the speed and efficiency of it. The only downside is not having original art to sell. As for AI, I think it’s important to keep an eye on how it’s being used, especially in creative fields, but for me, nothing replaces the human touch.

What are you working on right now?

I’m currently working on Expect the Unexpected with Ronda Rousey. It’s been a blast so far!

Expecting the Unexpected - Art by: Mike Deodato Jr.

Last question: What’s the best and worst advice you’ve received?

Honestly, I don’t pay much attention to advice. I’ve always followed my gut instincts, and that’s what’s worked for me.

Thank you Mike Deodato, for answering my questions. I know you’re really busy, so just simply taking the time to do this is much appreciated.

Hope you’re having a great day and can’t wait to see what you do next!

You can follow Mike Deodato Jr. on X(Twitter) and Instagram.