Partners For Life - The Interviews: Nic Cuti

Well the book is now out and on the shelves (you can order it from Amazon using the link on the side of this page). I'm not exactly sure as to the reasons why but a large portion of the text wasn't used. That includes some great interviews and testimonials, so rather than lose them completely I've decided to run them here over the coming months as a companion piece to the book itself so you can see all of the great stuff that couldn't be fit into the book proper.

Feel free to print these interviews out and place them in your book. Otherwise enjoy these little pieces and then run out and buy a copy of the book so you can read the rest.


A veteran of the comic book industry, Nic Cuti is the co-creator of E-MAN, along with artist Joe Staton. Nic has worked for the likes of Charlton, Warren, DC and more. He’s written, edited and drawn countless stories during his career, and is probably best known for his work on the many Warren horror books, such as Creepy, Eerie and Vampirella. He also served as the art assistant on Wally Wood's Cannon and Sally Forth, created Moonchild The Starbabe, Captain Cosmos and a host of others.

This interview was conducted via email in March 2005.

DANIEL BEST: When did you first become aware of Andru & Esposito as an art team?
NIC CUTI: When I saw their names on the series “Metal Men”. I never met Mike Esposito but I did have the pleasure of working with Ross Andru at DC Comics. I was the assistant editor on “ATARI FORCE” which Ross illustrated. I also worked with him on a space opera, which, unfortunately, never saw print. I left DC Comics soon after that so I was never able to work with Ross again. I recall him as being a pleasant gentleman with a very good sense of humor and a real delight to work with. I was a great fan of his “Metal Men” series so it was a real honor to finally meet him and work with him.

DB: What was Ross like as a person and also as a professional?
NC: Ross was a true gentleman. He was a thin man with rich black hair and always very pleasant and friendly. His artwork was clean and well drafted especially when it came to mechanical things such as space ships.

DB: You worked with Ross at DC; does anything stand out in your mind from that period?
NC: I do recall Ross being frustrated once. He was developing an adult space opera for, I believe, DC's Vertigo line and somehow he could never settle on exactly what would be considered adult. It was obvious he had changed the artwork several times. Other artists/writers, including myself, had trouble achieving the changeover from what had always been accepted DC art to what was “edgy” and adult. Dick Giordano had mentioned to me that Ross' pages actually seemed heavy with white-out. It's a shame, because I had always believed space opera was Ross' forte.

DB: What did Ross bring to the table as an artist?
NC: Good solid art with clear storytelling ability. In comics, the artist must tell the story along with the writer and Ross could be depended upon to do this very well.


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