Ferry has come a long way from Plasmer to the Ultimate Universe.
I contacted Pasqual in Spain and he agreed to chat with Newsarama
about his career and what we can expect from him in the next few
First off, let's kill some of the minor controversy - your actual
name is Pascual Ferrándiz, yet you are credited as Pascual Ferry,
Pascal Ferry and even Pasqual Ferry. What is the preferred spelling?
My preferred spelling is PASQUAL Ferry. My real name is PASQUAL
FERRÁNDIZ, so the “Pasqual” stuff is the same. The fact that sometimes
the name is written “PASCAL” is because this is how it is pronounced
in English. Pascual is how it is prounounced in Spanish. I’m Catalonian,
and my name in this idiom is PASQUAL, with a “Q” I hope that it
will be the definitive way that everybody knows my name!
You had a successful career in Spanish comics, what brought you
to Marvel UK?
Well “successful” is a very generous adjective. I was just a guy
that could do the comics that I wanted. But the sales in Spain aren’t
enough to be successful… at least in the kind of comics that I did.
Marvel UK was the opportunity of work in the super hero genre, especially
with Marvel stuff that I really loved since I was a little boy.
Also it was a great challenge, because at that time I was very far
away from that style, or better said, of that kind of concept.
Was working on Plasmer different the working on comics in
Well first, there were a lot more pages every month, and it was
very hard to achieve, In fact it is still hard.
I just to try to remember the kind of energetic stuff that I loved
when I was young and I was reading comic books all the time. Putting
my anatomy lessons in order was another priority. And the most difficult
thing of all was to be “different” then all the others artists.
It was a really fantastic experience although the final result wasn’t
as nice as I would have wanted.
When Marvel UK closed how did you make the transition to Marvel
I am the most boring man of the earth. It is thanks at the infinite
patience of Mariano Nicienza - every week he would take my phone
calls imploring him for work from Marvel. Talking seriously, my
entry into American comics was very tough. My style wasn’t the most
popular at the time. Adequate projects did not seem to exist, and
the transition was very slow in comparison of my - never beloved
enough - partners Salvador Larroca and Carlos Pacheco, who gained
access to Marvel faster then light, through the big Door. I entered
a year after them…form the “normal” door... Mariano, Bobby Chase,
James Felder, and Ben Raab saved my life.
You worked on a lot of fill in issues at this point in you career,
did you have to look for work, or did editors just use you for fill
ins as they had openings in the schedule?
Well, when Marvel did discover that my style “fit” in their books,
everything was easier. They told me that I never would be without
work again. And they carried out their promise. Before the current
project was finished they wuold be calling me for the next one.
It has been this way since Heroes for Hire. It was a very
wonderful phase of my career.
You just mentioned Heroes for Hire, it was your first regular
series was, how did you get this assignment?
In the beginning, my assignment was Defenders. Not H4H.
Defenders was a book that I wanted to do frenetically, because
I could draw one of my favorite Marvel characters, Doctor Strange.
But the series had several changes in the course of its creation.
The first one was the change of the name. The new one would be Power
Corps and the writer was Roger Stern. The final version of
all the changes is well known.
After Heroes for Hire ended you moved to Warlock,
it was an X-Men spin off and part of the new Marvel Tech line. Did
it feel like you had really made it on American comics?
Well it wasn’t exactly my feeling when I took the job. At this stage
of my career I was more interested in doing characters that I would
really enjoy drawing. Curiously, I always have loved the Warlock
character and the fact that he would be a transformer. The fun part
of his power attracted me a lot. When I noticed that Louise Simonson
would be the writer and Bobbi Chase was the editor the deal was
unbreakable. Unfortunately the book had very poor sales from the
beginning, but that didn’t make us enjoy doing the series any less.
I didn’t make my mark in American comics then, because my books
at Marvel was the worst selling and only a small group of people
Why did you leave Marvel for Superboy?
I wanted a change. I had work on projects at Marvel but not any
with high profile characters. DC called me, and the possibility
of Superman was in the air. Also the opportunity of work
again with my close friend Joe Kelly was a real hook. First we would
do a Superboy saga; and after that: Superman!! I wanted
a High Profile, and he is one of the best in the superhero market.
You spent three and a half years working on Superman related titles.
What attracts you to Superman?
His status of an Icon, also to do books with characters that everybody
knows. I really wanted to draw some one that everybody
knows. The typical question: What are you drawing? Hey I’m doing
Warlock! And the reaction of the people was always the same…What
if you say: Superman! Well, things change a lot. You know
- egocentric sickness. It was very fun…in the beginning.
You were on a rotation on Action Comics, and you would do
some issues and Duncan Rouleau would do other issues. How did that
arraignment come about?
Well, Duncan came before me. He was to draw the title alone, and
he’s one of the most imaginative artists of the industry without
doubt. But Eddie Berganza wanted to do a kind of experiment. One
story arc wuld have Duncan, and then another me. It didn’t sound
too bad, really. The reality is that the “plan” never happened this
way. Just a few months. In the end I was the big fill-iner, the
man without a book but with all the books at same time. In the end,
I had the opportunity to be alone on Action. Unfortunately,
it happened when sales were down, and a new team was ready for the
changing of the guard.
That said, why did you leave a regular assignment like Action
Comics, for a mini-series like Adam Strange?
The changing of the guard in Superman came about; and I had
to leave the title with the rest of teams. Also, when you
are on one comic book too long, something happens. Simple, and yet
sad. I wanted to draw some character that wouldn’t have connections
with other books. Without crossovers. And I wanted to draw sci-fi.
Robots, Space Ships, Weird planets… Adam was my most logical, and
heart felt, choice.
Adam Strange had never been an extremely popular character;
didn’t this seem like a risk?
You never know which will be a real risk when you do a new book.
I thought that Superman would be my big step in the industry
and was the contrary. So, why not take a risk? The only one, real
risk for sure is when you don’t have a good writer and good promotion
- especially, if you aren’t working with a “High Profile” character.
Poor sales are guaranteed in that case. Of course, they're guaranteed
if you do a bad work too. In the case of Adam Strange we
had both of the good things going for us. Andy Diggle is one of
the most exciting writers in the industry and the book had a reasonable
amount of promotion. But the real success of the series was the
Internet word of mouth. In fact, the Internet has become one
of the big keys in the success of any comic book.
Had you been a fan of Adam Strange prior to working on the
Not a crazy one. But I love his look and his background
The art style you used on Adam Strange was different then
your pervious work. Was this colored directly from your penciled
work, or was it partially inked?
This was one of the advantages of working with this kind of series.
You can experiment with new techniques. In the beginning,
I wanted to ink the pages myself, so I discovered the process of
working with computer inks. With this stuff, I found that my drawings
were closer to what I wanted to show to the reader. But the most
important thing was that I can do all the grey work with Photoshop
- illuminating the scenes, and giving the effects that I wanted
in every moment. It was like being the director of photography of
a film. More work for me, but on the other hand the final effect
was more like I always was imagined my comics. Besides, I had the
enormous luck of have at Dave McCaig doing the colors. He understood
very well what I wanted to do with this “new style” and also add
his own touch.
There were a lot of positive reviews and praise for this series.
Is it more rewarding to get this type of reaction when you are working
on a minor character?
As an artist, you always want good reviews. Unfortunately it does
not usually happen with some logic. At least, not with the logic
in the artist mind. My first Superman book was one of the
comics I worked the hardest on, and nobody liked the effort.
Warlock was a very poor selling book… so when you are doing
a new thing and people like it, it is a real pleasure. Frankly,
one that I didn’t have in the past. I never will forget Adam
Strange, believe me.
Your next assignment was a very high profile project, Grant Morrison’s
Seven Soldiers: Mister Miracle. How did you end up with this
I was talking with Dan DiDio in Barcelona. We talked about several
projects after Adam Strange, and then after some glasses
of campaign he offered me the project with Grant. A great moment,
really big for me.
What was working with Grant Morrison like?
A very special moment for me, I wanted to work with him for a long
time. It was a short and unfortunate moment, but wonderful. He is
a genius, and a very kind person.
You redesigned Mister Miracle costume for this series, what
type of guidelines were you given?
Respect the old one. But I was more interested in the global look
of the book. I wanted to do some psychedelic, crazy style that had
different effects than I did in Adam Strange.
Though Mr. Miracle was lined up, you're no longer on the title.
Were you removed?
Not at all. Let’s say that in the end, the schedules have to take
the blame for my departure from the book. I had a much tighter adjusted
plan to do the whole series, but the plans always change. Things
never happen like one thinks in the beginning. Sometimes, the most
unexpected factor of the deal can fail. At least in my case it always
does happen this way.
Since leaving Mr. Mircale, you've signed a three
year exclusive contract with Marvel. What brought you back to Marvel?
They offered me a very nice deal. And I really wanted to return
to draw all the fantastic characters with all these incredible writers
that are working there right now. It’s like an old debt with this
universe. My departure from DC was a little sad, but it’s a new
beginning for me. Like we said before, it’s a very big risk again.
I’ll be working with high profile characters or maybe not…
Marvel announced that you would be working on Ultimate Iron Man
II and Ultimate X-Men/Fantastic Four. What’s next after
That will maintain me for at least 7 months of work. So it’s premature
to talk about what will be the next after these nice projects. But
I have all confidence in Joe Quesada. Also I have been talking with
some writers about some things… And the prospects are very