An industry veteran for well over 25 years, Mike Deodato Jr.'s work has graced ELEKTRA, AVENGERS, THOR, PUNISHER: WAR JOURNAL, NEW AVENGERS, HULK, AMAZING SPIDER-MAN, SQUADRON SUPREME and currently, THUNDERBOLTS. Insipired by the work of his father Mike Deodato Sr. on Brazilian independent titles, Mike has been a solid voice in mainstream American comics for a quarter century.

He has worked for nearly every comic company and on almost every major comic character in some way or another and changed his style of art a number of times. His current work blends his '80s style touches of his '90s vibe for an effective, gritty look. For a listing of his recent and upcoming work, see the Marvel Catalog on Marvel.com.

In spite of all his achievements and experience, he doesn't have the flashy personality of some of his peers. We chatted up the highly skilled artist to get a look into his work and his career.

DAVID WILTFONG: Let's start off with your signature. How did you come up with the idea to place it in a torn piece of paper instead of just signing your work?

MIKE DEODATO Jr.: It came from Will Eisner. That's the way he did in a lot of Spirit stuff, so I decided to do the same.

DW: I know you've been asked the question often, and I've even asked you myself in past interviews we've done together, but for those readers that don't know. How did you get your break into comics?

MD: I started doing fanzines in 1980 and then working for small comic companies in Brazil, but never made enough money to live exclusively off comics in my country. Then I got a call in 1991 from a Brazilian agency interested in representing Brazilian artists to the American comic book market, asking if I wouldn't be interested in drawing a comic called Santa Claws, for Malibu Comics. I said yes and that was my breaking-in.

DW: Working for the small companies was during the time you were working with your father, Mike Deodato Sr., correct?

MD: That's right.

DW: Was the Brazilian agency Glass House Graphics?

MD: Actually, it was [Glass House Graphics'] partner in Brazil, Art & Comics. Later they split and I decided to go with Glass House Graphics.

DW: How did you get your first break into Marvel?

MD: At the end of my run on Wonder Woman I was getting calls from everybody interested hiring me. Valiant made a great offer that I almost took, but Marvel made an even better one and then I signed my first exclusive contract with Marvel in '95.

DW: Where did your career go from there?

MD: After my first exclusive contract with Marvel ended, I was in very bad shape, artistically speaking. Working on three, four titles a month and producing four pages a day can pretty much kill you if you aren't that fast. I had to work 18 hours a day to make the deadlines and, in the end, my art suffered badly. I was doing a crappy work, really.

DW:That is when you were working on AVENGERS, INCREDIBLE HULK, THOR/JOURNEY INTO MYSTERY and ELEKTRA, and had Deodato Studios to help with the workload, right?

MD: Correct. The demand was so high that I couldn't do it alone, so I had this bunch of very talented fellas to help me out.

Then I decided to change route. I was going to draw just one title per month, but it would be my very best. I had drawn [for] almost all the companies, but I missed Marvel. I started doing several pinups, very good ones and sent to all the comic-related sites to see if they could put it online and maybe call the attention of the editors. And it worked out. I finally had the chance to do a little story for an X-MEN UNLIMITED Annual that impressed the editor [so much] that it carved my way onto bigger projects in there.

DW: One particular piece that you did with Captain America holding his face in mourning over the events of 9/11 is still remembered as a great piece. In light of the events of what happened with Captain America, have you thought about doing a similar piece to reflect that event in Marvel?

MD: I still have hope that the news about his death were exaggerated.

DW: While on the subject of Captain America, you've worked on the character most recently during your run on NEW AVENGERS and previously during your runs on THOR and AVENGERS 10 years ago. Not to mention that he is your favorite Marvel character. What are your thoughts about the death of the American icon Captain America?

MD: Man, there goes my dream of drawing Cap one day... at least I had the chance of drawing an eight page story for the CAPTAIN AMERICA RED, WHITE AND BLUE edition a few years ago.

DW: Do you prefer working with scripts that have a lot of detail for scenes or ones that give you the freedom to express yourself?

MD: I prefer the detailed one, specially if the writer is good. I've been lucky in that matter, by the way: I have worked with such great writers like Warren Ellis, Matt Fraction, Charlie Huston, Straczynski, Bendis, Bruce Jones and Bill Loebs.

DW: You worked with Matt Fraction on PUNISHER: WAR JOURNALS #4 for the Stilt-Man funeral. How much did you enjoy drawing the large group of villains for that issue?

MD: It was just fun. Kind of a preparation for my work on THUNDERBOLTS.

DW: Any favorites out of the group?

MD: Rhino! I love to draw big bad guys.

DW: You've done quite a lot of cover work for Marvel ranging from the OFFICIAL HANDBOOK OF THE MARVEL UNIVERSE X-MEN 2005, BULLSEYE, PUNISHER VS BULLSEYE, and of course the titles you work on. When drawing a cover for a particular title, do you start with a specific idea on where you want to take it or just kind of go with the flow and let it grow from there?

MD: I ask for the plot from my editor and I make two or three layouts based on it. Same thing if it is asked for a generic, iconic pose.

DW: Do any of your covers stick out as a favorite?

MD: There's so many I like, but my favorites are the ones I did on INCREDIBLE HULK.

DW: Since your current exclusive run began with Marvel, you've worked on titles such as WITCHES, INCREDIBLE HULK, AMAZING SPIDER-MAN, NEW AVENGERS, SQUADRON SUPREME, and most recently, THUNDERBOLTS. Is there a title that you really have the desire to work on, but keep missing the opportunity?

MD: WOLVERINE. I'm still in line waiting for my shot. :)

DW: You're working on the THUNDERBOLTS for the first time… again. You were the first to work on the characters in their debut issue a little over 10 years ago and have now returned to the team. How does it feel?

MD: Kind of a second chance to make it right. I was in bad shape at the time I did the group 10 years ago and now I feel I'm better than ever in my life in all aspects.

DW: Marvel tried to keep the identity of the Thunderbolts under wraps as much as possible back then. Were you part of the group that knew who they were when drawing them or did you just go by scripts with no hints?

MD: I'm dangerous, they don't tell me a thing. ;)

DW: From an artist's perspective, other than the costumes being different, do you feel that Songbird and Moonstone (the only original characters left on the team) have grown as characters?

MD: A lot. They went through too much to not to grow. Songbird especially. She's more confident now.

DW: You worked with Warren Ellis way back when on Thor. How does it feel to be working with him again after so long?

MD: I missed the guy. He's so good. The last time I felt so great working on a comic was when i was doing Hulk with Bruce Jones.

DW: Was it like good old times or do you feel that Warren Ellis creatively changed just as you did and takes some adjusting in order to get back into the feel of things?

>MD: He's getting better with age and so am I.

DW: Has there ever been a moment in your Marvel career where you read a script and said to yourself, "I can't believe we are doing this"?

MD: Yeah, in a bad way, I mean. I once got such a bad script that it was exactly what I thought. Of course I'm not gonna tell you which one it was. ;)

DW: Your art style has changed since you first worked at Marvel 10 years ago and you've pretty much gone back to a style you did years ago. What made you decide to go back to the realistic style?

MD: Yup. As I said before, it was when I realized how crappy my art had become, so I decided to change.

DW: On average, how much time do you spend on a page?

MD: Depending on the page it could be a day or a day and a half.

DW: Doing a little round robin type thing here where I mention something and you tell me your thoughts on them.

First up: Thor

MD: I like the original one.

DW: Hulk

MD: Miss you man.

DW: WORLD WAR HULK

MD: No time to follow it, unfortunately.

DW: Captain America

MD: What, are they waiting to bring him to life again? Let's make a deal: Since I'm the one who drew Spider-Mans death, my punishment for doing it should be rewarded by drawing Cap's revival! :)

DW: THUNDERBOLTS

MD: My best work ever!

DW: CIVIL WAR

MD: Loved it!

DW: Moonstone

MD: Nasty with capital "N."

DW: Avengers

MD: Still having nightmares with the 60 thousand zombies Bendis made me draw.

DW: You knew this one was coming… Taskmaster.

MD: Hmmm...he could be useful in the Thunderbolts.

DW: Glass House Graphics. [For those that do not know, Glass House Graphics is a Talent Agency that Mike and many other creators work though.]

MD: David Campiti--one of the most honest and professional men I ever met.



DW: Okay, onto questions from Marvel.com forum members

Matthewaos asks: Venom was penciled really huge, on that "KILL KILL" panel on your first issue. I can understand that you wanted to show his anger etc, but I would like to know how you saw it, from an artist's perspective.

MD: I really enjoy drawing him that big.

Matthewaos: You are an acknowledged artist for some years now, can you tell as which other artists do you prefer, who are not as well known as you?

MD: There are some artists that I admire a lot who are not very famous for the American audience. The one that comes to my mind right now is Ivo Millazo, Italian artist [and] creator of "Ken Parker". If you don't know, look for it. It is a masterpiece.

Mrmarvel28 asks: Which over all Marvel character is your favorite to draw?

MD: Captain America

Mrmarvel28: What advice would you give young up and coming artist?

MD: The same old, but it is true: Practice, practice and more practice!

Mrmarvel28: Which Marvel title you have worked on in the past or present was your favorite to do?

MD: THUNDERBOLTS

Mrmarvel28: Could you give us some hints on future projects you will be working on?

MD: I dunno, really. Maybe something related to the X-family.

Deicide.UH asks: I am Brazilian like you, and after seeing TBolts #110, something caught my eye: in the page with various interviews and TV Shows, in the third panel, is the interviewer Jô Soares (the host of a famous Brazilian talk show)?

MD: Yup! I love Jô. That's was my way of homage him. :)

Deicide.UH: I am a big Venom fan! Why that biiiig rabid Venom? I mean, that panel in issue #111 with Venom attacking Jack Flag is awesome! But Venom is usually portrayed as a big yet agile powerhouse. Is that towering Hulk-like Venom appearance your idea or did Warren Ellis described him to be portrayed that way?

MD: Exactly. That's my vision of the character too and I'm sticking to it.: )

Deicide.UH: What TBolts character do you like to draw the most?

MD: Venom

Deicide.UH: Are you staying in Thunderbolts after the end of the first arc?

MD: Yes!!

ironhand48 asks: Whose side were YOU on during the Civil War?

MD: Cap's side.

ironhand48: Any clues on your next project?

MD: X?!

ironhand48: Who's your best character to draw?

MD: I think I do a very good Hulk.

Nature Man asks: How long did you practice drawing when you were a kid? And when you started out drawing, was it natural to you or did you have to practice, practice and practice?

MD: I always liked drawing but I am also always studying and learning something from my craft. I like this way.

Hallie365 asks: Whatever happened to Lady Deathstrike? Will she appear anytime soon?

MD: I dunno, really. I hope so, Hallie365.

David Wiltfong: Thanks for taking the time to answer these questions. In closing, is there anything you'd like to say to the fans in general about your current work on THUNDERBOLTS?

Mike Deodato Jr.: Don't miss it!!