Mariko Tamaki requires little introduction. From her coming of age graphic novel, Skim to She-Hulk, Mariko has been exploring issues of identity and what it takes to be comfortable in one's own skin - well, green or otherwise in the case of the She-Hulk. An unlikely writer of mainstream superhero comics, Mariko is enjoying herself writing the adventures of Supergirl and X-23 in recent years.
Her bio reads: New York Times bestselling author Mariko Tamaki is the co-creator of graphic novels, Skim and This One Summer, with illustrator Jillian Tamaki. Mariko has received Eisner, Ignatz, Caldecott and Printz honours. She is currently working on a Harley Quinn comic for DC Ink with Steve Pugh.
These are the SWf prograames she will be in:
https://www.singaporewritersfestival.com/nacswf/nacswf/programme-listing/ticket-events/How-to-Write-Comics.html
https://www.singaporewritersfestival.com/nacswf/nacswf/programme-listing/festival-events/The-Power-of-Superheroines.html
(with Margaret Stohl, the current writer of Captain Marvel)
https://www.singaporewritersfestival.com/nacswf/nacswf/programme-listing/festival-events/The-Unspoken-.html
How did you end up writing for Marvel and DC, specifically, She-Hulk and Supergirl?
I was invited! By that time I had written a few graphic novels (Skim and This One Summer with my cousin Jillian Tamaki), and I had worked with Dark Horse on their Tomb Raider series (With Phillip Sevy), and Adventure Time, amongst others. I suppose at some point I came up on someone’s list and someone emailed me.
Was it intentional for the mainstream to get you to write female characters like She-Hulk, X-23, Harley Quinn, Supergirl and Tomb Raider?
I’m not sure. I’m very pleased to have had the chance to write such incredible, complicated characters.
How different is it writing for the mainstream comics companies as compared to your own indie / personal stuff like Skim?
It’s very different and in some ways not at all different. The format is different, writing in issues of 20 or so pages, in arcs where the individual issues have to connect into one long story, but work as individual issues. Writing someone else’s character, writing into an existing mythology requires different writing muscles. I write, I think, different stories when I am working “my own” books, which is to say when I’m creating an original work with an artist. At the same time, both processes involve figuring out story and character, and sitting down and writing.
How have people responded to Skim (2005) after all these years? (That's the first book of yours I read)
I have talked to people who have a very strong connection to Skim. For some people, it was their first queer comic, which to me is such an honor, because I have a VERY strong bond with my first queer works.
How much of your own life is in your stories? For example, Emiko Superstar features performance art and you were a performance artist. (btw, there is quite a vibrant performance art scene in Singapore)
I’m very glad to hear that! Emotionally a lot of what I write is inspired by my experiences, and from what I’ve observed in the world. I definitely mine my past for inspiration. I try to think of things that have meant something for me that I haven’t seen in other books and use that where I can.
Would you say a central theme in all your comics (Skim, This One Summer, She-Hulk, Supergirl, Lumberjanes) is about growing up, coming to terms with oneself, that need to belong and the desire to resist?
I would say identity is definitely a common theme: the identity of the outsider, the struggle with identity (which is a big superhero thing), how it is we come to embrace an identity, or leave one behind.
This One Summer was number one on the list of top 10 most banned and challenged books in USA in 2016. Were you surprised by this? Are cultural wars still being fought in America, especially in this age of Trump? (Singapore is also trying to deal with LGBTQ issues currently. The National Library had its own Penguingate 4 years ago. https://www.theguardian.com/world/2014/jul/18/singapore-halts-pulping-gay-themed-childrens-books)
LGBTQ content is a large reason for books being on the challenged list in the United States, which is not to say it is a good REASON to challenge or ban a book. I was not surprised because This One Summer had received quite a bit of attention after receiving a Caldecott Honor, but I was sad to hear how many amazing books about LGBTQ experience were being pulled from shelves and made unavailable to young readers.
Female comics writers are in the news these days. Marjorie Liu (who we invited for SWF last year) won a Hugo and an Eisner for Best Writer for Monstress and the book also just won the Harvey Award’s Book of the Year. These add diversity to the creative pool. Eg. Black Panther (Ta-Nehisi), Mockingbird (Chelsea Cain) and Captain Marvel (Margaret Stohl). So putting it to you - who else would you want to write?
There is a long and amazing history of female comic writers that I am honored to be a part of, people like G. Willow Wilson, Gail Simone, Alison Bechdel, and now writers like Nalo Hopkinson, are making amazing works. I have been so thrilled with the characters I have written so far, I would love to write a Hawkeye, and Batman, and Batwoman, and Jessica Jones. Really, I have a VERY LONG list of comics I would like to write.
More published writers are engaged to write comics now. What are the pros and cons of this arrangement?
Are their cons? I think it’s a good thing. I think more comics are always a good thing.
Can you tell us more about the new project, adapting Carole Maurel's Luisa: Now and Then?
I was given the translation of the comic from French to English, and my job was to make sure the comic read well in English, to make sure it felt…I guess the word could be “natural.” I compared it to moving around the cutlery on a well dressed table, just making sure everything is in the right place. Maurel is an incredible comic artist and writer.
What comic books do you read these days?
A LOT. I’ve recently discovered Warren Ellis, so I’m reading a lot of his comics. Also I’m really enjoying Rainbow Rowell and Kris Anka’s Runaways. I loved Emil Ferris’ My Favorite Thing is Monsters, and Eleanor Davis’s Why Art?
Mariko and Jillian
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