Comic Book Yeti contributor Alex Breen recently corresponded with Declan Shalvey, writer of Dynamite's upcoming series The Terminator, to discuss his approach. The Terminator is available in comic book shops this October. Pre-Order HERE.
COMIC BOOK YETI: Declan, thank you so much for joining me today. How would you describe your relationship with The Terminator series? Is there an aspect of the concept or overarching narrative that has most impacted you?
DECLAN SHALVEY: Well, as a general sci-fi fan, there’s no getting around how iconic and fundamental the Terminator mythology is to so many ideas and stories that come after it. I distinctly remember my first experience with the franchise, which was seeing the apocalyptic opening of T2 as a kid. It certainly left an impression on me. The desperate attempt to survive against near impossible odds, what sci-fi can show us about the human condition; there’s so much of that in this franchise and it really resonates with me.
CBY: Can you describe your approach to tackling a Terminator story? Were there certain themes or beats you were looking to hit or avoid?
DS: I guess the main thing for me was digging into the fundamental core of the original concept and not getting distracted by the bigger lore elements which I just think have explored plenty at this stage. I wanted to do something more grounded, lean into the noirish B-movie elements of the original, take advantage of how open the initial idea of the original film was. The robot is scary, yes, but the threat of the Terminator is uniquely chilling, and I wanted to get back to that. My approach is to try to create a scenario that the reader will find interesting…then add a murder robot to threaten all that.
"...When I write for myself it’s really a process of problem solving, so that when I’m drawing, all questions and concerns are ironed out so that I’m not struggling to solve those problems in the drawing. "
CBY: When it comes to writing your stories, do you handle your scripts differently when collaborating with an artist vs. when you’re illustrating the story?
DS: No, not really. When I write for myself it’s really a process of problem solving, so that when I’m drawing, all questions and concerns are ironed out so that I’m not struggling to solve those problems in the drawing, which could just complicate matters. So, the scripts for myself are pretty much the same as those I write for Luke Sparrow on Terminator, though maybe with some specifics fleshed out. When I write for myself sometimes there might be some details in my head, and not in the script.
CBY: What are your personal hallmarks for a compelling comic cover?
DS: Hmm, good question! I guess ultimately, I want an image that most directly catches the eye of the potential reader. Something that stands out next to the comics either side of the rack. Sometimes that requires an intricate drawing, sometimes minimal drawing, sometimes a regular action shot, sometimes a direct and centralised composition, sometimes a big symbol of some kind… those specifics depend on the book and the story. In general, I think it comes down to a strong composition, not too many elements that compete with each other, and contrast, be it negative space v detail, or saturated colour vs subdued colour, etc. There’s many tools to implement but yeah, essentially I think it mainly comes down to nailing a good, strong composition.
CBY: Your artist for Terminator is Luke Sparrow; how would you describe your collaboration together?
DS: Seamless. Luke composes his pages in a way that really gels with how I imagine they would look, while adding so many extra flares and choices that I never could. As I write, it feels like I’m writing for myself, which in a strange way, seems to work for Luke too. Having that core rhythm down from the beginning has been great, so I’m very happy with how it’s been working. Luke seems to have liked my work over the years too, which helps I guess? I just want to make sure he’s enjoying what he’s drawing. Colin Craker on colours is adding a whole new illustrative element to the pages too. This is a really beautiful, moody book.
CBY: At this stage in your career, is there a particular quality you’re looking for with the editors you work with?
DS: Huh, no one’s ever asked me that before! I guess I’m looking for a combination of; 1) Leave me the hell alone and just tell me I’m good, and 2) You have to push back on me, make more work for me in order to make this good. Both elements completely contradict each other but it can’t all be one OR the other… both are needed in order to get a comic done but also make it the best it can be. I’m working with three different editors at the moment, Heather Antos on my creator owned work like Old Dog, Darren Shan on Mystique and Nate Cosby on Thundercats and The Terminator and they all offer a balance of those two things to different degrees which has been working great. I think they all know I’m busy getting stuff done, so don’t get on to me with every single little thing, but if they have notes, they know I’ll hear them out because they’ll be very considered.
There is another third element I hope for when working with an editor and that’s letting me have some involvement with the creative decisions on a book. Obviously with my creator owned, it’s all my call but I appreciate Heather’s input, but on the work-for-hire stuff it can be harder. I’m happier when I get to have some input on the visual decisions on a book, and thankfully, most editors have been flexible with me, like Sarah Brunstad on Alien, very much on Thundercats and even pretty much letting me pick the art team on The Terminator. I’m not a control freak or anything, but I do have s strong feeling on creative choices and what choices lead to a ‘Declan Shalvey book’, whatever that is.
CBY: Is there anything you can tease for us with future issues?
DS: I can say that issues 2 and 3 will feature the T-800 stalking the jungle during the Vietnam War. Don’t want to reveal anything beyond that!
CBY: For fans of this series, which comic of yours should readers try out next?
DS: Another great question! If you like The Terminator then I’d suggest you they out Old Dog for some other pulpy action stories (with an espionage twist) or go start reading Time Before Time which is six volumes of time traveling drama (that also features a robot, now that I think of it), so lots more time-based stories to enjoy there.
CBY: If you could give one piece of advice to aspiring creatives what would it be? You can differentiate between artists and writers if you’d like.
DS: For both I would just say; make something. You can never be considered for a job, be it writing or drawing, without solid examples of your work. Samples can be great, but if you can make something good, a small body of work that is directly tied to you, to what you can do as a storyteller, it will speak volumes about what you can offer an editor or a potential collaborator. Keep doing it, too. If you’re seen to be doing something, someone in a position to hire you will pick up on that, that you’re a person that gets things done, not someone sitting around, waiting to be noticed based on a 6-page sample you did nine months ago. No, get off yer arse, engage with something that pushes you as a creator in whatever field and make something new.
CBY: Where can people find you on social media?
DS: I’m @declanshalvey on Twitter and Instagram. If you go to my website, you can subscribe to my Declarations newsletter, where I have a work blog mixed with exclusive peeks on offers on art and merch, etc.
CBY: Declan, thank you so much for your time!
DS: My pleasure, thank you!
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