Declan Shalvey has made waves in the comic book industry through his outstanding runs on books such as Moon Knight, Venom, and Wolverine. As both a writer and an artist, he has helped to shape and redefine some of fans’ favorite characters and arcs. Now he’s taking the time to do something all new and all on his own. Old Dog, which is set to be released by Image Comics on Aug. 24, will be Shalvey’s dive into the espionage genre, with a protagonist that could give James Bond a run for his money.
CBR spent some time with Shalvey to learn more about Old Dog. He explained how his work at Marvel was critical to his plans for his creator-owned series and how it helped take his skills to the next level. Shalvey also revealed which other characters influenced Old Dog‘s protagonist, Jack Lynch.
CBR: How long has the idea for Old Dog been percolating? What made you decide that now’s the right time for it?
Declan Shalvey: I’d say it’s been mulling around for a long time in some form. I think I had a rough structure in mind after doing the Nick Fury serial a few years ago, but the story specifics clicked a couple of years ago, probably at the beginning of the pandemic/Diamond shutdown. Like everyone else, I was taking a hard look at my options: The Punisher series I’d drawn was shelved. A gig at DC fell through… How the hell was I going to make comics?! I think it forced me to take a look at the projects I was working on and the direction I was going as a creator, and [it] made me draw a line between work that would pay the bills and work that would benefit me on a more creative front.
Thankfully, I am in a position where I get to have my cake and eat it, between the paying Marvel gigs and the side creator-owned projects, but I felt it was about time I put my money where my mouth was. I often tell younger creators to do their own stuff, but it’s always harder to take your own advice. I looked at the creators who I respect and was excited by how many were writing and drawing their own stuff. I had to take a hard look at myself and ask, “You have all the resources to do your own book… Why aren’t you doing it?” That’s when I decided, “I’m going to do Old Dog.”
I was fortunate enough to have some great Marvel projects offered to me, [so] I decided to wait a year and get more writing/drawing credits under my belt at Marvel. Firstly, writing/drawing was the work I wanted to do creatively, and it also gave me the time to slowly workshop Old Dog while having a paying gig to keep the lights on. I also took the opportunity to start coloring my own work. Marvel was really great to give me the opportunity to do all the above, and now I feel like my skill set is in a place where I can do a whole book at the quality and level I really want.
Judging by the short story in Image! #1, Jack Lynch loves to quip and have a conversation while he’s punching people in the face. Which were the main inspirations for this character’s personality?
It’s hard to place it down to any one inspiration; a lot of it just came down to what would entertain me. I guess I like the more contemporary mythic characters: hard-worn and battered protagonists that still had some swagger. I’d like to think [that] there’s some of Sin City‘s Marv, Raylan Givens, Clint Eastwood, Jimmy McNulty, etc. I wanted to write a miserable old bastard, [who] can still crack a good line when needed.
So will Jack Lynch actually be afforded the luxury of the retirement he planned, or will he keep coming back and kicking heads in?
Jack finds a new lease on life — a life that was abruptly taken away from him. Kicking heads is when he’s happiest. He’s of use again, and that’s exactly where he wants to be. The last few years of his career were essentially a retirement of sorts. He’s done with that. He wants back in.
How do you feel Old Dog separates itself from other espionage stories?
That’s hard to say, and probably not for me to do so; maybe it isn’t! I’m definitely playing within the margins of established tropes. I think the lens of how I tell these stories will be the decider of anything more original. I would say [that] maybe it harkens back to some mid-era WildStorm comics; a friend compared it to Sleeper and Global Frequency, which feels a little refreshing as I can’t think of a book like that in a while that wasn’t pretentious as hell. I’m definitely going for a more grounded feel with Old Dog, but still keeping room for the bigger sci-fi spectaculars. I like to draw moody stories and brooding characters, but dammit, I love drawing things exploding too.
I love the cover of Jack sitting on a park bench covered in blood, surrounded by carnage, with pigeons circling him for food. How important was it for you to balance Jack’s obvious lust for violence with these moments of levity?
Well, full credit to Marcos Martin for that cover. Typical of him to do a better cover for your own book than you ever could. Same for the other variant cover artists like Kevin Nowlan, Chris Samnee, Greg Smallwood, etc. I really shot myself in the foot there. To your question though, it’s just something I can’t help. I like dark, dark stories but can’t help myself from cracking a joke. Not to say I am like Jack, but I get to channel some of that attitude; channel my bitter old man energy into something productive.
In terms of writing, drawing, and coloring, why did you decide to go completely solo here instead of working with a team — apart from Clayton Cowles doing the lettering?
Why not do the lettering? Because I’m crazy, but not that crazy! Well, writing/drawing was the ultimate goal with this project. I got a taste for it at Marvel and wanted to really commit to that level on a creator-owned book. I feel like I’ve been inching closer to more — for lack of a better word — “auteur” work and finally had to step up. Regarding coloring, honestly, I was planning on reaching out to one of the many fantastic colorists that are working today, but since coming up with Old Dog and working on it, I had been coloring my work at Marvel and honing that skillset. I know it’d be smarter to hire a brilliant colorist, but I felt I was up to the challenge, and if I was going to commit as much as I already was, why not just go all the way? I had become more interested in storytelling with color and if I could do it on a work-for-hire book, why can’t I do the same for a book I own? Same with the book design… I know it’s so bloody time-consuming, but I didn’t want to just stop shy of having a full vision realized in a book.
I did ask Clayton if he would letter it, though, as I think I had to draw the line somewhere. It’s a lot of firsts for me on Old Dog and having a trusted collaborator like Clayton at my side does help a lot. I love what he’s doing too; most of the notes I’ve given him are along the lines of, “You know, like in the old X-Men comics!”
What would you say was the most challenging aspect of creating Old Dog?
Man, that’s a good question. Probably sounds silly, but I think the hardest part was forcing myself to actually do it. It’s so much easier to just take the paycheck and have fun with the toys a company lets you play with. I do enjoy it, but I know I had to follow through on this compulsion to make my own thing. I have a fantastic support system, be it the people at Image: my editor Heather Antos, Clayton, etc. It was about time I made the jump. All the work involved has been a huge challenge, but one I know I’d eventually get through. At the end of the day, I think I haven’t gotten to the hardest part yet: to see if anyone will actually buy and enjoy the book! With everything going on like this, I can’t hide behind a great writer or fantastic artist or inspired colorist. I’m a bit more exposed. If you don’t like the book, I can’t blame anyone else!
And finally, can you actually teach an old dog new tricks?
I’d have to say yes, as even I seem to be learning more and more.
Old Dogs #1 arrives in stores on Aug. 24, from Image Comics.
